[
{"source_document": "", "creation_year": 1939, "culture": " English\n", "content": "APPEALING WAYS ***\n                       _APPLES in appealing ways_\n                    U. S. Department of Agriculture_\n             _Bureau of Human Nutrition and Home Economics_\n                       _APPLES in appealing ways_\nAlmost everyone enjoys apples. And there are so many ways to use apples\nthat a family need never tire of them.\nThis leaflet is designed to supplement the better-known apple recipes\ngiven in many cook books. You will find here some new apple adventures\nand some variations on favorite ways of using the fruit. Recipes calling\nfor applesauce and apple juice are included.\nAll recipes have been developed or adjusted by research methods, to\narrive at up-to-date, dependable directions.\nNutritionally speaking\nMany families eat apples liberally, for apples regularly take top or\nsecond rank among the country\u2019s most widely used fruits.\nEaten in generous quantities, especially raw, apples can provide some\nvitamin C. The food value, however, varies considerably, depending on\nsuch factors as variety, storage conditions\u2014temperature and length of\nkeeping\u2014and finally the way the fruit is kept and served at home.\nA small or medium-size apple makes a very pleasant low-calorie dessert\nin many homes.\nChoose your apples\nTo get the most in apple enjoyment, look for a variety that suits family\ntaste and the uses you have in mind.\nMany varieties are good for all purposes\u2014general cooking, baking whole,\neating raw. Tart, firm apples are generally best liked for cooking;\nsweeter apples, for eating raw. (See table on pages 4 and 5 for\ndescriptions of 12 well-known varieties.)\nEarly summer apples are likely to be juicy, tart, and quick-cooking ...\nespecially good in applesauce and pies.\nDon\u2019t forget that apples that are tart and firm when picked in autumn\nbecome less crisp and snappy if stored through the winter.\nIn some areas, windfalls and culls are sold at bargain rates. To make\nsure you have a real bargain, stop, look, and consider how you will use\nthe fruit. Bruises and skin breaks mean waste, and apples damaged this\nway are poor risks for home canning. Best uses for them are in jelly,\napple butter, or cider.\nSkin russeting ordinarily does not affect apple quality.\nIf apples are to be bought in large quantity, it is better to buy a few\nat first, to try out, to see whether they have the flavor and texture\nyou want.\nStore for good keeping\nApples are noted for good keeping qualities, but it takes a little care\nto hold them at their best in home storage.\n_Short storage_ (a few days to 2 weeks): Keep firm apples in a cool\nplace, 60\u00b0 to 70\u00b0 F. Keep mellow-ripe apples in the refrigerator.\n_Longer storage_ (up to several months): If you have plenty of cool- or\ncold-storage space, where temperature remains the same and the air is\nrather moist, you can probably save money by storing autumn-picked\napples in quantity at home.\nSort carefully to remove apples with bruises and skin breaks. Use these\npromptly. Divide the sound apples into half-bushel lots and store at 32\u00b0\nF. If you cannot provide this kind of storage, use your coldest storage\nspace, where there is no danger of the fruit freezing.\n_Most recipes in this leaflet provide four servings; a few provide\nmore._\n       KNOW YOUR APPLES: TWELVE OF THE WIDELY MARKETED VARIETIES\n    VARIETY        SEASON          SIZE AND DESCRIPTION           USE\nBaldwin          November    Medium to large. Partially red  Raw and\n                 to May      to dull solid red. Juicy,       general\n                             moderately tart, hard, crisp.   cooking.\nRed Delicious    October to  Medium to large. Deep red, five Raw.\n                 April       knobs on blossom end. Sweet,\nGolden Delicious October to  Medium to large. Yellow. Sweet, Raw and\nGrimes Golden    October to  Small to medium. Yellow with    Raw and\n                 February    small dark specks. Moderately   general\n                             juicy, slightly tart, firm,     cooking.\nJonathan         October to  Small to medium. Deep red.      Raw and\n                 February    Juicy, moderately tart, tender, general\nMcIntosh         October to  Medium. Bright deep red striped Raw and\n                 March       with carmine. Juicy, moderately general\n                             tart, tender, crisp, fragrant.  cooking.\nNorthern Spy     October to  Large. Bright striped red.      Raw and\n                 March       Juicy, moderately tart, firm,   general\nRome Beauty      November    Large. Yellow mingled with red. General\n                 to May      Juicy, slightly tart, firm,     cooking,\nStayman          November    Medium to large. Dull striped   Raw, general\n                 to April    red. Juicy, tart, firm, crisp.  cooking,\nWinesap          January to  Small to medium. Deep bright    Raw, general\n                 May         red with small scattered white  cooking,\n                             dots. Juicy, slightly tart,     baking whole.\nYellow Newtown   February    Medium. Yellow. Juicy,          Raw and\n                 to June     moderately tart, hard, crisp.   general\nYork Imperial    October to  Medium to large. Light or       Raw and\n                 April       purplish red over yellow.       general\n                       APPLES IN THE MAIN COURSE\nBaked acorn squash with apples\nTo give a sharper flavor to the mild acorn....\n  2 small acorn squashes\n  \u00bc cup brown sugar\n  3 cups chopped apple\n  Nutmeg\n  \u00bd teaspoon salt\n  2 tablespoons table fat\nCut squash in halves and scoop out seeds.\nPlace squash in a baking dish; fill centers with apple.\nPour a little water into the dish. Cover and bake at 350\u00b0 F. (moderate\noven) 30 minutes, or until partly done.\nSprinkle with salt, sugar, and nutmeg, and dot with fat.\nBake uncovered about 45 minutes, or until the squash is soft.\nFour servings.\nApple fritters\nFritters are special, and especially good with any lean meat\u2014cold sliced\nor hot ...\n  1 cup sifted flour\n  1 egg, beaten\n  \u00bd teaspoon salt\n  \u00bd cup milk\n  1\u00bd teaspoons baking powder\n  1 tablespoon melted fat\n  1 cup thinly sliced apples\n  1 tablespoon sugar\n  Fat for deep-fat frying\nSift together flour, salt, baking powder, and sugar.\nCombine egg, milk, and fat. Add to the dry ingredients all at once,\nstirring only enough to moisten.\nStir in the apples.\nDrop by spoonfuls into hot fat (350\u00b0-375\u00b0F.) and cook until browned.\nServe with sirup or sprinkle with confectioners\u2019 sugar.\nEight small fritters.\nApple stuffing\nOne way to bring together the ever-popular pork and apple team....\n  \u00bc cup diced salt pork\n  \u00bd cup chopped onion\n  \u00bc cup chopped parsley\n  5 medium-size tart apples, diced\n  \u00bd cup sugar\n  2 cups soft bread cubes\nCook salt pork in a fry pan until crisp, and remove from fat. Cook onion\nand parsley in the fat for a few minutes.\nPlace apples in the pan, sprinkle with sugar. Cover and cook until\ntender, then continue cooking uncovered a few minutes until apples are\ncandied.\nAdd salt pork and bread cubes; heat through.\nYield: 3 cups stuffing.\n                    _Ways to use apple stuffing...._\nPile hot stuffing between two sections of spareribs, skewer them\ntogether, and bake. Or use to stuff a boned shoulder of fresh pork.\nOne-half of this recipe will stuff four large pork chops, with enough\nleft over to cook on top of the chops.\nApple relish\nEasy to make ... no cooking....\n  1 cup finely chopped unpared apples\n  1 cup finely shredded cabbage\n  \u00bd cup finely chopped celery\n  1 tablespoon chopped green pepper\n  \u2153 cup sugar\n  3 tablespoons vinegar\n  \u00bd teaspoon salt\n  \u00bc teaspoon ginger\n  \u00bc teaspoon mustard\n  Dash of cayenne pepper\n  1 tablespoon chopped canned pimiento\nMix apples, cabbage, celery, and green pepper.\nCombine sugar, vinegar, spices, and pimiento. Add to apples and\nvegetables and mix lightly but thoroughly.\nYield: 2 cups.\n                      APPLES IN SALAD AND DRESSING\nWhen something firm and crisp is wanted in salad, along with fruity\nflavor, apples are just the thing. They make likable combinations with\nmore salad foods than most people ever try. Salads in this section\ninclude meat, cheese, fruits, and vegetables\u2014even the onion, for onion\nlovers.\nDon\u2019t let apples darken. Raw apple when cut often darkens from exposure\nto air. Some nuts also make raw apple darken, especially if the fruit\nhas come in contact with iron in a knife blade or chopper.\nSo, when cutting apples for salad, protect them from darkening by mixing\nthe pieces with fruit juice\u2014lemon, orange, grapefruit, or\npineapple\u2014before adding other ingredients. Or, mix with salad dressing\nat once, for a protective coating.\nSome like it tart. To give a sharper tang to a salad, especially if\napples are mild in flavor, use a tart oil dressing, lemon juice, or a\nsour cream dressing.\nJellied Waldorf salad\nMix diced tart apples, chopped celery, and nuts. Fold into a partially\nthickened gelatin mixture. For 2 cups of the apple mixture, use 1\npackage of gelatin dessert powder and 2 cups of water. Chill until firm.\nFruit salad with onion\nCore unpared apples and slice in thin cross sections. Arrange on salad\ngreens with orange slices and onion rings. Serve with a clear, tart oil\ndressing.\nApple slaw\nMoisten equal amounts of chopped apples and finely shredded cabbage with\nsour-cream dressing.\n_Variations_. If desired, season the dressing with a little horseradish,\nor add coarsely ground peanut butter.\nMain dish salads with apple\nMix 1 cup diced or sliced raw apple with \u00bd cup celery and 1 cup of any\nof the following: Flaked tuna fish (7-oz. can); chopped cooked pork,\nham, veal, chicken, turkey; diced cheese. Moisten with tart french\ndressing or mayonnaise and serve in lettuce cups. Four servings.\n_For a jellied salad._ Fold the above ingredients\u2014except the\ndressing\u2014into a partially thickened gelatin mixture made from a package\nof lemon or lime gelatin dessert powder and 2 cups of water. Chill.\nServe with the dressing. Jellied this way, the recipe makes 6 servings.\nDessert salad\nSprinkle diced apples with lemon juice. Add chopped dates, raisins, or\ngrapes. Mix with marshmallows or cream cheese cut in small cubes.\nApple juice salad dressing\nFor fruit salads....\n  \u00bc cup sugar\n  2 tablespoons cornstarch\n  \u00bc teaspoon salt\n  Juice 1 lemon\n  1 cup apple juice\n  1 egg, well beaten\n  1 3-ounce package cream cheese\nMix dry ingredients, add fruit juices, and blend. Cook over hot water 20\nminutes, stirring frequently.\nSlowly stir into egg. Return to heat and cook 5 minutes, stirring\nconstantly. Cool slightly.\nMash cream cheese with fork; beat into cooked mixture. Chill.\nYield: 1 cup.\nApplesauce bran muffins\nSofter than most bran muffins....\n  1\u00bc cups sifted flour\n  3 teaspoons baking powder\n  \u00bd teaspoon salt\n  2 tablespoons sugar\n  1 cup bran\n  1 egg, beaten\n  \u2153 cup milk\n  \u2154 cup applesauce\n  \u00bc cup melted fat\nSift together flour, baking power, salt, and sugar. Mix in bran.\nCombine egg, milk, applesauce, and fat. Add to the dry ingredients all\nat once, stirring only enough to moisten.\nFill greased muffin pans two-thirds full. Bake at 400\u00b0 F. (hot oven)\nabout 20 minutes.\nMakes about 12 medium-size muffins.\nApplesauce whole-wheat muffins. Use same recipe, replacing bran with 1\ncup whole-wheat flour and using 1 cup applesauce. Do not try to sift\nthis flour.\nFor a different flavor. Add 1 teaspoon grated orange rind to the milk.\nApple griddlecakes\nBrighten any breakfast or supper....\n  1\u00bd cups sifted flour\n  1\u00bd teaspoons baking powder\n  \u00be teaspoon salt\n  1 tablespoon sugar\n  1 egg, beaten\n  1 cup milk\n  2 tablespoons melted fat\n  2 cups very finely chopped apples\nSift dry ingredients together.\nCombine the egg, milk, and fat. Add gradually to the dry ingredients;\nstir only until batter is smooth. Fold in apples.\nDrop by spoonfuls onto a hot greased griddle. Cook slowly until the\nsurface is covered with bubbles, turn, and cook until the bottom is\nwell-browned.\nMakes about 18 medium-size griddlecakes.\nA piece of cut apple in the cookie jar is a familiar device to keep\ncookies from drying out quickly. These applesauce cookies have the\nmoisture and fruit flavor built in.\nApplesauce drop cookies\n  \u00bd cup fat\n  1 cup sugar\n  1 egg\n  1\u00be cups sifted flour\n  \u00bd teaspoon baking powder\n  1 teaspoon soda\n  \u00bd teaspoon salt\n  1 teaspoon cinnamon\n  \u00bd teaspoon cloves\n  \u00bd teaspoon nutmeg\n  \u00bd cup seedless raisins\n  1 cup quick-cooking rolled oats\n  1 cup applesauce\nCream together fat and sugar; stir in the egg.\nSift together flour, baking powder, soda, salt, cinnamon, cloves,\nnutmeg. Mix in raisins and rolled oats. Add to creamed mixture in three\nportions alternately with applesauce in two portions. Beat well.\nDrop dough by teaspoonfuls onto greased baking sheets. Bake at 375\u00b0 F.\n(moderate oven) about 15 minutes.\nMakes about 3 dozen cookies.\nApplesauce refrigerator cookies\n  \u00be cup fat\n  1 cup sugar\n  1 egg\n  2\u00bd cups sifted flour\n  \u00bd teaspoon soda\n  \u00bc teaspoon salt\n  \u00bd teaspoon cinnamon\n  \u00bc teaspoon cloves\n  \u00bd cup chopped nuts\n  \u00bd cup applesauce\nCream together fat and sugar; stir in the egg.\nSift together flour, soda, salt, cinnamon, and cloves. Mix in nuts. Add\nto creamed mixture in three portions alternately with the applesauce in\ntwo portions.\nForm into rolls; wrap in waxed paper and chill in refrigerator.\nSlice thinly. Bake on greased baking sheets at 375\u00b0 F. (moderate oven)\n10 to 15 minutes.\nMakes about 5 dozen cookies.\nChocolate applesauce bars\n  2 squares (2 ounces) unsweetened chocolate\n  \u00bd cup fat\n  1 cup sugar\n  2 eggs, slightly beaten\n  1 cup applesauce\n  1\u00bc cups sifted flour\n  \u00bd teaspoon baking powder\n  \u00bd teaspoon soda\n  \u00bd teaspoon salt\n  \u00bc teaspoon cloves\n  \u00bc teaspoon nutmeg\n  \u00bd teaspoon cinnamon\n  \u00bd cup chopped nut meats\nMelt chocolate and fat together over hot water. Cool slightly.\nBlend in sugar, eggs, and applesauce.\nSift together the flour, baking powder, soda, salt, and spices. Add to\nfirst mixture.\nStir in the nut meats.\nSpread the batter in two greased 8-inch square pans. Bake at 350\u00b0 F.\n(moderate oven) 30 to 40 minutes.\nCool in pan; then cut into 3 dozen small bars.\nWhen it comes to desserts, apples are in their glory, and the cook can\nalways find a way to prepare them that fits right in with her plans. She\ncan make desserts with apples raw or cooked, applesauce, juice, or\ncanned slices. Apple desserts can be hot or cold ... quick to fix, or\ntime-consuming but well worth it.\nRecipes given here provide examples of the many ways of topping off the\nmeal with apples.\nBaked apples\nCore apples without cutting through the blossom end. Pare apples\none-third of the way down.\nPlace apples in a baking dish. Sprinkle the holes lightly with salt, and\nadd 1 tablespoon sugar to each apple. Top with table fat and sprinkle\nsugar over pared portion of apples.\nPour enough water in bottom of dish to keep apples from sticking.\nBake uncovered at 400\u00b0 F. (hot oven) about 1 hour, or until apples are\ntender.\n1. Fill the apples with chopped fresh cranberries and bake.\n2. Fill centers with crushed pineapple. After baking, top apples with\nmarshmallows and return to oven for a few minutes.\n3. Serve with a topping of cream cheese softened with cream and beaten\nuntil fluffy.\nApple-cheese dessert\n  5 cups apple slices (pared)\n  1 tablespoon lemon juice\n  \u00be cup sugar\n  \u00bc teaspoon cinnamon\n  \u00bd cup sifted flour\n  \u00bc teaspoon salt\n  \u00bc cup table fat\n  \u2154 cup grated cheese\nFill pie pan or shallow baking dish with apples; sprinkle with lemon\njuice and \u00bc cup of the sugar.\nMix cinnamon, flour, salt, and the other \u00bd cup sugar. Cut in fat until\nmixture is granular. Stir in cheese. Spread over apples.\nBake at 350\u00b0 F. (moderate oven) until apples are tender\u2014about 40\nminutes.\nCool before cutting to serve.\nServe with plain cream or ice cream, if desired.\nSix servings.\nDessert apple slices\nSlice pared apple quarters. Put slices into pan and add enough water to\nhalf cover apples. Add a few grains of salt and 2 to 4 tablespoons of\nsugar for each apple used. Put the cover on and cook gently until apples\nare tender\u201420 to 30 minutes. Serve chilled, plain or with cream. Or,\nbake some of the drained slices in custard (p. 15).\nApple pie\n  6 medium-size tart apples, quartered\n  \u00be to 1 cup sugar\n  1 teaspoon cinnamon\n  1 teaspoon salt\n  2 tablespoons table fat\n  Pastry for 9-inch pie\nPare, core, and slice the apples. Line a piepan with pastry. Place a\nlayer of apples over the bottom; sprinkle with a mixture of the sugar,\ncinnamon, and salt. Dot with fat. Repeat until all ingredients are used.\nCover with pastry that has a few slits in the center so steam can\nescape; seal edges.\nBake at 425\u00b0 F. (hot oven) 40 to 50 minutes, or until apples are tender\nand crust is well-browned.\nFrench apple pie. Mix 1 cup seedless raisins with the apples and reduce\nthe sugar to \u00bd cup. To frost, mix \u00bd cup confectioners\u2019 sugar with 2\nteaspoons water and spread over top crust of cooled pie.\nApple tapioca\n  2 medium-size apples\n  \u00bd cup sugar\n  \u00bc teaspoon salt\n  2 cups water\n  2 tablespoons quick-cooking tapioca\n  Nutmeg, if desired\nPare and slice apples.\nAdd sugar and salt to the water; put over heat and stir until sugar is\ndissolved.\nAdd apples and cover the pan. Cook slowly until apples are just\ntender\u2014about 15 minutes.\nCarefully stir in tapioca, and continue cooking a few minutes until\ntapioca is transparent.\nSprinkle with nutmeg and serve with plain or whipped cream.\nRed apple tapioca. Add \u00bc cup red cinnamon candies to water and stir\nuntil dissolved before adding apples. Omit nutmeg.\nFour servings.\nApple custard\n  1 cup dessert apple slices (p. 13) or canned apple slices, drained\n  3 tablespoons sugar\n  \u00bc teaspoon salt\n  2 eggs, beaten\n  1\u00bd cups hot milk\n  Nutmeg\nArrange apples in bottom of four custard cups. Combine sugar, salt, and\neggs. Add milk slowly. Pour over apples, sprinkle with nutmeg. Set cups\nin a pan of hot water.\nBake at 325\u00b0 F. (slow oven) until the custard is set\u201430 to 40 minutes.\nFour servings.\nApplesauce puff\n  4 slices bread or plain cake\n  2 tablespoons butter or margarine\n  1\u00bd cups applesauce\n  1 teaspoon cinnamon\n  \u2153 cup brown sugar\n  1 egg\n  1 cup milk\n  \u00bc teaspoon salt\nSpread bread or cake slices with butter or margarine, and arrange in the\nbottom of a greased baking dish.\nCover with applesauce; sprinkle with cinnamon and about half the sugar.\nBeat together egg, milk, salt, and rest of sugar. Omit sugar in this\nmixture if cake is used. Pour over mixture in baking dish.\nSet in pan of hot water and bake at 350\u00b0 F. (moderate oven) about 40\nminutes.\nFour servings.\nFrozen applesauce cream\n  1 cup applesauce\n  1 cup thin cream\n  \u2153 cup sugar\n  \u00bc cup lemon juice\nCombine ingredients, stirring until sugar is dissolved.\nPour into freezing tray and freeze at the coldest refrigerator\ntemperature until firm.\nTurn into chilled bowl and beat smooth. Return quickly to tray; freeze.\nFour servings.\nApplesauce Bavarian cream\n  1 tablespoon gelatin\n  \u00bc cup cold water\n  \u00be cup applesauce\n  2 tablespoons lemon juice\n  \u00bd teaspoon grated lemon rind\n  \u00bc cup sugar\n  \u00bc teaspoon each cinnamon, ginger, nutmeg\n  \u00bc teaspoon salt\n  1 egg white\n  \u00bd cup heavy cream, whipped\n  \u00bd cup crushed ginger snaps\nSprinkle gelatin on water and soak for a few minutes.\nHeat applesauce, lemon juice, and lemon rind with half the sugar.\nDissolve gelatin in hot applesauce. Add spices. Chill until partly set.\nAdd salt to egg white and beat until stiff. Add rest of sugar slowly,\nbeating until glossy.\nFold egg white mixture, cream, and half of the crumbs into gelatin\nmixture. Pour into mold.\nChill until firm.\nBefore serving, sprinkle with rest of the crumbs.\nFour servings.\nApplesauce gelatin dessert\n  3 cups applesauce\n  \u00bd cup (1 box) gelatin dessert powder (any fruit flavor)\n  32 small vanilla wafers\n  \u00bd cup heavy cream\n  1 tablespoon sugar\nHeat applesauce slowly, stirring frequently. Stir dessert powder into\nhot applesauce; stir until dissolved. Chill until partly set.\nPlace a layer of wafers in bottom of 8-inch square pan.\nPour in applesauce mixture, and cover with another layer of wafers.\nChill until firm.\nTop with sweetened whipped cream just before serving.\nNine servings.\nApplesauce chiffon pie\n  1 tablespoon gelatin\n  \u00bc cup cold water\n  3 eggs, separated\n  1\u00bd cups applesauce\n  \u215b teaspoon ginger\n  \u00bc teaspoon cinnamon\n  \u00bd cup milk\n  1 tablespoon lemon juice\n  \u00bd teaspoon grated lemon rind\n  \u00bd cup sugar\n  \u00bc teaspoon salt\n  9-inch baked pastry shell, or graham cracker shell\n  Nutmeg if desired\nSprinkle gelatin on water; soak a few minutes.\nBeat egg yolks slightly, and add the applesauce, ginger, cinnamon, milk,\nlemon juice and rind, and half the sugar.\nCook over boiling water, stirring constantly, 20 to 25 minutes.\nAdd gelatin to the hot mixture; stir until dissolved. Cool until thick\nbut not set.\nAdd salt to egg whites and beat until stiff. Add rest of sugar slowly,\nbeating constantly. Blend with the thickened gelatin mixture.\nPour into the shell and sprinkle with nutmeg, if desired. Chill until\nfirm.\nApplesauce\nWash, quarter, and core apples.\nCook until soft with a small amount of water in a covered pan. Put\napples through a sieve or food press. Add a few grains of salt, and\nsweeten to taste while still hot.\nQuick applesauce. Pare quartered and cored apples. Cook as above. When\napples are tender, crush pieces with a potato masher or stir until\nsmooth. Add salt and sweeten as above.\nFor variety. Sweeten the sauce with brown sugar or honey. Or, cook a few\nwhole cloves or a piece of stick cinnamon or a few raisins with the\napples. Remove cinnamon before serving.\nIf the apples are very mild, cook 1 to 2 teaspoons of lemon juice with\nthem.\nApple juice cake\n  \u00bd cup fat\n  \u00bd teaspoon vanilla\n  1 cup sugar\n  2 eggs\n  2 cups sifted cake flour\n  1 teaspoon baking powder\n  \u00bd teaspoon soda\n  \u00bd teaspoon salt\n  \u00bd teaspoon cinnamon\n  \u00bc teaspoon cloves\n  \u00bd teaspoon nutmeg\n  \u00be cup apple juice\nCream fat, vanilla, and sugar together until light and fluffy. Add the\neggs one at a time, beating each one in well.\nSift together flour, baking powder, soda, salt, cinnamon, cloves, and\nnutmeg.\nAdd to creamed mixture in three portions alternately with apple juice in\ntwo portions.\nTurn batter into two greased 8-inch round layer pans.\nBake at 375\u00b0 F. (moderate oven) 25 to 30 minutes.\n_Variation._ Add 1 cup of raisins to the batter.\nFluffy apple juice frosting\n  1 cup sugar\n  \u00bd cup apple juice\n  Pinch of salt\n  1 tablespoon lemon juice\n  2 egg whites, stiffly beaten\nMix sugar, apple juice, salt, and lemon juice. Cook until the sirup\nforms a soft ball (234\u00b0 to 240\u00b0 F.) when a little of it is dropped into\na cup of very cold water.\nPour very slowly over stiffly beaten egg whites, beating constantly.\nContinue beating until mixture stands in soft peaks.\nSpread between layers and over top and sides of cake.\n_Variations._ When frosting is ready to spread, stir in \u00bd cup chopped\npecans or hazelnuts, or shredded almonds.\nFor a more festive cake, sprinkle \u00bc cup pink-tinted shredded coconut\nover the top after frosting is spread.\nAs a snack, or a fruity appetizer for tea, use apple slices spread with\na topping. Applewiches they are sometimes called, especially when a\nsecond apple slice is placed over the topping.\nTo prepare the slices, core the apple and cut thick rounds, leaving the\ncolorful peel on. Toppings include\u2014\nSoft sharp cheese ... cream cheese with strawberry jam or chopped nuts\n... peanut butter and mayonnaise ... sliced ham, chicken, or turkey, or\nany of these meats ground and mixed with mayonnaise.\n      Applesauce refrigerator cookies                                 11\n              BUREAU OF HUMAN NUTRITION AND HOME ECONOMICS\n                  Agricultural Research Administration\n            U. S. Department of Agriculture. September 1951\n                      Prepared by Mary T. Swickard\nThis leaflet supersedes the unnumbered publication, Apple Recipes.\n                 U. S. GOVERNMENT PRINTING OFFICE: 1951\n    For sale by the Superintendent of Documents, Government Printing\n                  Washington 25, D. C.\u2014Price 10 cents\n\u2014Silently corrected a few typos.\n\u2014Retained publication information from the printed edition: this eBook\n  is public-domain in the country of publication.\n\u2014In the text versions only, text in italics is delimited by\n  _underscores_.", "source_dataset": "gutenberg", "source_dataset_detailed": "gutenberg -  Leaflet No. 312"},
{"source_document": "", "creation_year": 1939, "culture": " English\n", "content": "Produced by Tom Cosmas\nTranscriber Note: Text emphasis is denoted as =Bold= and _Italics_.\n  Fractions are represented as 1-2/3.\n                    U.S. DEPARTMENT OF AGRICULTURE\nThis Bulletin is a guide to up to-date methods for the sanitary\ndisposal of sewage and other household and farm wastes. It tells how\nto construct satisfactory sanitary facilities and how to maintain them\nand gives special attention to the questions on sanitation asked most\nfrequently by farm people.\nSolutions to all problems cannot be given here, and often advice\nmust be sought from local sanitary officials. Many county and State\nhealth departments furnish advice and copies of local regulations and\nsometimes provide inspection service. Where there are no specific local\nrequirements, this bulletin may be accepted as a guide to safe practice.\nSEWAGE AND GARBAGE DISPOSAL ON THE FARM\nBy J. W. Rockey, _assistant agricultural engineer_,[1] and\nJ. W. Simons, _associate agricultural engineer_, _Division of\nFarm Buildings and Rural Housing, Bureau of Plant Industry, Soils, and\nAgricultural Engineering, Agricultural Research Administration_\n[1] The senior author prepared the preliminary draft, and the junior\nauthor completed the bulletin.\nContents\n  Protection of water sources from household wastes        2\n    Operation of a septic tank system                      2\n    Disposal methods in tight or wet soils                14\n    Care and maintenance of septic tanks                  17\n    Effect of drain solvents and other materials          17\n    Protection against freezing                           17\n  Disposal of drainage from fixtures other than toilets   19\n  Disposal of garbage and trash                           25\nTO INSURE healthful living, domestic wastes must be disposed of.\nPrimitive wanderers and too often present-day tourists deposit their\nwastes promiscuously and move on when the surroundings become foul.\nThis is impractical in built-up communities. Therefore, in most cities\nand in some rural areas sanitary codes regulate the disposal of wastes.\nCHARACTERISTICS OF SEWAGE\nHousehold sewage ordinarily consists principally of human excrement,\ntoilet paper, garbage, dish water, and other wash water from the\nvarious plumbing fixtures and floor drains.\nMany kinds of bacteria, at times disease-producing ones, are contained\nin the discharges from the human body. Epidemics of typhoid fever,\ndysentery, diarrhea, cholera, and other water-borne diseases may\nresult from the pollution of the water supply with sewage. Pollution\nis carried by water moving underground, as well as by water flowing\non the surface. This is especially true in limestone regions, where\nunderground channels and rock crevices permit water to flow for\nconsiderable distances with little filtering action. Sewage used for\nfertilizing or irrigating crops[2] may contaminate vegetables or the\nudders of cows and thus spread disease. Anthrax, cholera, and parasitic\nworms may be present in the surface drainage from fields and barn lots.\nIt is wise to regard all sewage as dangerous and to dispose of it\npromptly in a sanitary manner, so that disease germs will not pollute\nthe water supplies or be spread by flies, animals, or man.\n[2] This subject is discussed at length in Technical Bulletin 675,\nSewage Irrigation as Practiced in the Western States.\nPROTECTION OF WATER SOURCES FROM HOUSEHOLD WASTES\nUnder most farm conditions a safe place for the disposal of wastes\nis in the upper 3-foot layer of soil, where the action of bacteria\ntends to render it harmless. Tile disposal fields, such as are used\nwith septic tanks, and earth-pit privies accomplish this if the water\ntable remains several feet below the surface and if the location is\nremote from water supplies. Cesspools and other types of pits do not\nordinarily confine contamination to their immediate vicinity and are\nnot recommended except for special conditions.\nSewage or other wastes discharged into abandoned wells or other pits\nthat reach to the water table or below it are almost certain to\ncontaminate the ground water.\nIt is generally poor practice, and often illegal, to discharge wastes\ninto surface streams. Streams do not necessarily purify themselves\nin 50 feet, 100 feet, or some other stated distance, as is commonly\nbelieved. They do tend to purify themselves over long distances through\nthe action of sunlight, aeration, and other factors but may not be\nsafe for domestic use for many miles below the source of pollution.\nClear, sparkling water is not always safe drinking water. Streams in\nagricultural communities are subject to many sources of pollution and\nthey are likely to become more contaminated as they merge into larger\nstreams.\nSEPTIC-TANK SYSTEMS\nSeptic-tank systems, if installed and maintained properly, provide the\nmost sanitary method of sewage disposal for farmhouses equipped with\nrunning water.\nGround water or rock close to the surface, lack of sufficient fall for\nthe sewage to flow by gravity, and too small an absorption area for the\neffluent limit the satisfactory operation of a septic tank. When these\nconditions exist, special advice should be sought from a competent\nlocal sanitary authority. Adverse soil conditions can be overcome if\nsufficient fall and space are available.\nThe five essential parts (fig. 1) of a septic-tank system are (1)\nthe house sewer; (2) the septic tank; (3) the effluent sewer; (4)\nthe distribution box; and (5) the disposal field. In special cases a\ngrease trap (see fig. 11, p. 19) is added. To facilitate inspection and\nrepairs it is good practice to keep in the house a chart showing the\nlocation of the tank and other parts of the system.\nA septic tank does not necessarily purify the sewage, eliminate odor,\nor destroy all solid matter. Its purpose is to condition the sewage or\ndomestic waste by bacterial action, so that it can be disposed of in a\nmore satisfactory manner.\n[Illustration: Figure 1.--A septic-tank system.]\nOPERATION OF A SEPTIC-TANK SYSTEM\nIn a septic-tank system the sewage flows by gravity from the farmhouse\nthrough the sewer into the tank, where it should remain at least 24\nhours. While passing through the tank the solids are acted upon by\nanaerobic bacteria, which work only in the dark and where there is\nlittle air. The heavy particles settle to the bottom as sludge, the\nlighter particles float as scum, and the remainder passes out of the\ntank through the effluent sewer to the disposal field. The gas released\nin the process escapes through a vent provided either in the =T= to the\nhouse sewer or the effluent sewer.\nA tank that is too small may fill up with solids in a short while,\nbecause sufficient time is not allowed for breaking them down by\nfermentation, or the sewage may be pushed right through into the\ndisposal field and clog it.\nThe effluent may contain even more disease germs than the original\nsewage, and though it may be as clear as spring water it is far from\npure and may cause foul odors if discharged or allowed to pool on the\nsurface of the ground.\nThe final disposition of the effluent into the upper layer of the soil\nexposes it to the action of aerobic bacteria. These bacteria, unlike\nthose in the tank, need air and cannot work in saturated soil or live\nmuch more than 3 feet below the surface of the ground. The \"living\nearth,\" or upper stratum, teems with these bacteria, which convert the\ndangerous sewage and disease germs into harmless matter and thus tend\nto purify the effluent if it remains long enough in the top layers of\nsoil before seeping into the subsoil and thence to the ground water.\nEffluent discharged deep in the soil does not receive the benefit of\nthis purifying action.\nSeveral types of septic tanks are in common use. The one described in\nthis bulletin is the single-chamber type, which can be built with or\nwithout siphon. This should meet all average farm needs where there\nare not more than 16 members in the household. It would be advisable\nto consult the authorities of the State agricultural college or local\nhealth department as to their recommendations because frequently local\nconditions and larger establishments require special installations.\nSELECTING THE SITE\nFirst install the tile disposal field where there will be least danger\nof polluting water supplies, at least 100 feet from water sources if\npossible and always at a lower surface elevation. This is of greatest\nimportance. Even though selecting a more distant location would result\nin greater initial cost, it would be a good investment as protection\nagainst diseases that might result from pollution of water sources.\nThe site should slope away from the house and away from the source of\nwater. Gentle unshaded slopes free of trees or shrubbery are best.\nRoot-free locations are important because the open-jointed tile cannot\nbe \"rootproofed.\" Porous, well-drained, gravelly, or sandy soil allows\ngreater purification. Do not have the disposal field in vegetable\ngardens, under roadways, in swampy land, in muck soils, or in areas\nhaving rock substrata sloping toward the water supply. Allow sufficient\narea, where available, to enlarge the field later if needed.\nThe septic tank may be close to the house, but a more distant site\nwould reduce the likelihood of odors if leakage occurs. The tank should\nalso be kept 50 feet or more from any source of water supply and at a\nlower elevation. It should not be placed under driveways, pavements, or\nflower beds, as these would make it not readily accessible for periodic\ninspection. Care should be taken to insure that surface drainage from\nthe area around the tank will not reach the vicinity of the water\nsupply.\nTHE HOUSE SEWER\nMaterial\nVitrified salt-glazed clay or well-made concrete sewer pipe and\ncast-iron soil pipe are the standard materials for house sewers on\nfarms. Asphalt-impregnated fiber pipe, of a type designed especially\nfor house sewers, appears to be satisfactory for this purpose.\nCast-iron soil pipe with leaded joints should be used when the sewer is\nwithin 50 feet of a well or suction line from a well, within 10 feet\nof any drinking-water supply line under pressure, within 5 feet of\nbasement foundations, or when laid beneath driveways with less than 3\nfeet of earth covering the pipes. When within 15 feet of large trees or\nshrubs, the sewers should have root-tight joints.\nSize\nFor house sewers, 4- and 6-inch pipes are generally used. Where a\n4-inch pipe is used, cast-iron is commonly recommended. Grades with\nlittle fall require larger pipes. The large sizes are also less liable\nto become clogged. Clay pipe is made in pieces 2 or 2-1/2 feet long,\nwhereas fiber-pipe sections are 4 feet long and cast-iron pipe 5 feet\nlong, so that there are fewer joints. The minimum number of joints is\ndesirable, as there is less danger of stoppage.\nAlinement\nRun the house sewer in a straight line and avoid bends whenever\npossible. Slight changes in direction may be made with one-sixteenth or\none-eighth bend fittings. For sharper changes of direction a manhole or\ndistribution box may be used. Changes in direction of more than 45 are\nnot recommended unless a manhole is provided. Clean-outs are desirable\nwithin 5 feet of the septic tank where tanks are placed more than 20\nfeet from the building and the sewer line is not buried deeper than 4\nfeet.\nEstablishing Line and Grade\nThe trench for laying the sewer is usually dug after the septic-tank\nexcavation has been completed and the elevation of the tank inlet\ndetermined. A simple method of setting guides for the excavation is\nillustrated in figure 2.\nDigging the Trench\nStart digging the trench at the tank end, so that rain or seepage will\nhave an outlet. Rounding the bottom of the trench to the shape of the\npipe and hollowing out basins for the \"bell\" ends allows the pipe to\nrest firmly throughout its full length, permits full calking of joints,\nand relieves the strain on them.\nLaying the Pipe\nBegin laying the pipe at the tank with the bell end uphill. Joints in\nclay-tile pipe are commonly made with portland cement mortar or grout.\nWhere root-proof joints are essential, sulfur-sand compounds may be\nused or copper rings provided and used with cement-mortar joints.\nAsphalt-mastic compounds, however, are more satisfactory. For cast-iron\nsoil pipe, lead is the standard joint material.\nAfter the hub is pushed into the bell, oakum (or old hemp rope) is\npacked with a calking iron or a piece of wood (fig. 3, _A_.) solidly\nand evenly in the joint to a depth of about half an inch to center the\nhub end in the bell and to keep the joint filler from getting inside\nthe pipe. Oil, grease, or dirt on the joint surfaces should be removed,\nas it will prevent joint material from sticking. Figure 3 shows the\ndifferent jointing methods.\n[Illustration: Figure 2.--Establishing grade for sewer. _A_,\n2- by 4-inch stakes are set each side of the trench at convenient\ndistances _a_, _b_, _c_, and _d_. Then a board is nailed horizontally\non the stakes at _d_ at a convenient height above the bottom of the\ntrench, that is, the bottom of the sewer leaving the house. A board is\nnailed likewise to the stakes at a the same height above the inlet to\nthe tank that _d_ is above the bottom of the trench. Similarly, boards\nare set at _b_ and _c_ by sighting from _a_ to _d_ so the tops of the\nintermediate boards will be in line. _B_, The exact grade of the sewer\nis obtained by measuring from the grade cord with the 1- by 1-inch\nstick, shown in detail. The length of the stick must equal the height\nof the board above sewer at _d_.]\nBituminous, sulfur-sand, lead, and other commercial joint compounds are\npoured while hot into the joint from a ladle (fig. 3, _F_), and when\nthe work is well done they form a joint that is practically root-proof.\nThey are more expensive than cement mortar.\nFor molding hot compounds, a clay dike, or funnel, built about 3 inches\nhigh around the triangular opening at the top of the jointer greatly\naids in the rapid and complete filling of the joint space. A hot joint\nmust be poured continuously, otherwise a seam may develop between\nsuccessive pourings.\nBituminous compounds make a slightly elastic joint. A joint in 4-inch\npipe requires about 3/8 to 1/2 pound of compound and in 6-inch pipe\nabout 1 to 1-1/2 pounds.\nSulfur-sand joints are hard and inelastic. The compound is made by\nmixing together equal volumes of ordinary powdered sulfur and very\nfine clean sand, preferably the finest quicksand, and then heating\nthe mixture until the sulfur melts. A 4-inch joint takes about 3/4\npound and a 6-inch joint about 1-7/8 pounds of the mixture. Commercial\nsulfur-joint compounds also are available.\n[Illustration: Figure 3.--Jointing sewer pipe. _A_, Using\ncalking iron to force packing into joint. _B_, Making joint with 1:2\nportland cement mortar. Use only enough water to dampen the mix. Recalk\nafter half an hour, to close shrinkage cracks. _C_, The completed\njoint. Wrap finished joint with cloth and keep dampened, to aid\ncuring. _D_, Joint made by pouring 1:1 Portland cement grout of creamy\nconsistency into a form. This type of joint is not feasible unless the\nmetal forms shown are available. _E_, Use of asbestos runner clamped\naround pipe, for pouring hot joint. _F_, Clay roll used in place of\nasbestos runner. _G_, A completed bituminous joint. _H_, Use of swab,\nto remove any joint material forced through to inside of pipe.]\nSoft pig lead or old scrap lead is suitable for lead joints on\ncast-iron pipe. About 3/4 pound per inch of pipe diameter is generally\nrequired for each joint. The lead is hot enough to pour when it begins\nto char the paddle used to skim off the impurities. When it cools it\nmust be calked tightly to take up shrinkage. The calking should be\nuniform around the entire joint and should stop when the lead is tight.\nHeavy pounding or continued calking may crack the bell of the pipe.\nIt is easier to get good, joints when the pipe is in a vertical\nposition. Therefore, two lengths of pipe are frequently joined and are\nthen laid as a single unit in the trench. In using terra cotta pipe,\nthis procedure may be followed only when the joint is made with a\nmastic compound. Cement-mortar joints cannot be used in such cases.\nBefore filling the trench, the sewer should be tested to detect\npossible leaks. Earth free from rubbish and large stones should then be\ntamped around and about 1 foot above the pipe.\nTHE SEPTIC TANK\nFlow Through the Tank\nSlow, undisturbed flow through the tank is necessary for the separation\nof solids and liquids and for bacterial action. Submerged inlets\nand outlets or baffle boards reduce disturbance. A submerged outlet\nprevents scum from passing out with the effluent.\nThe single-chamber tank without a siphon, shown in figure 4, is easy\nto build, inexpensive, and entirely satisfactory in most instances. In\nvery tight soils or for large installations a siphon and sometimes two\nchambers are advisable.\nSize\nThe tank should be large enough to retain the sewage at least 24 hours.\nThe size should be determined by the largest number of persons that may\nlive in the house, rather than by the number actually living there at\nthe time the tank is built. The additional cost of a large tank over a\nsmall one is relatively little. If there is any question as to which\nof two sizes should be built, it is wise to choose the larger. The\ndimensions recommended in the table in figure 4 are based on an average\nproduction of 50 gallons of sewage per person per day.\nUnusually large quantities of sewage call for a tank of large capacity.\nIn village and suburban homes where there is less food preparation\nthan on farms and where the number of persons is more or less fixed,\nslightly smaller sizes will serve. In no case should the capacity of\nthe tank below the flow line be less than 500 gallons. A tank length of\ntwo to three times the width should be maintained, and it is advisable\nto provide a depth of at least 4 feet below the flow line.\nAllow about 1 foot of \"freeboard,\" or air space, above the flow line\nfor the accumulation of gases. This space is generally vented through\nthe soil stack of the house.\nA siphon (fig. 5) with a dosing chamber is not considered necessary\nfor a farm septic tank except for large installations (1,000 gallons\nor more), for those in tight soils, and where the disposal field is\nlimited.\n[Illustration]\n |            CAPACITIES, DIMENSIONS, AND CONCRETE MATERIALS                 |\n |           FOR SEPTIC TANKS SERVING INDIVIDUAL DWELLINGS                   |\n |_Maximum |_Liquid |_Recommended inside dimensions_ |_Materials for concrete|\n |persons  |of tank |_Width_|_Length_|_Liquid|_Total +-------+-------+-------+\n |served_  |  in    |       |        | depth_| depth_|_Cement|_Sand  |_Gravel|\nFigure 4.--Single-chamber septic tank. Note alternate use of baffle\nboards where sanitary tees are omitted at inlet and outlet.\nThe siphon provides intermittent discharge of effluent, which allows\ntime for the disposal area to rest and aerate between discharges. This\nis more important where the discharge is nearly continuous than in\nsmall installations.\nThe frequency and volume of the discharge into the tile field are\ncontrolled by the sizes of the siphon and the dosage chamber. The\ndealer should be informed of the size of the tank and the number of\npersons in the household, in order that he may furnish the proper\nunit. A 3- or 4-inch siphon will be adequate for almost any farmhouse\ninstallation.\nConstruction\nMost septic tanks are built of concrete cast in place, since in this\nway there is a minimum possibility of cracks developing. Concrete\nblocks, however (not cinder blocks), stone, brick, or structural tile\nare sometimes used. Prefabricated commercial tanks of concrete and\nvarious other materials also are available.\n[Illustration]\n |_Diameter of siphon       |_Clearance under bell              |\n |_Diameter of bell         |_Distance across U-trap            |\n |_Bottom of outlet         |_Bottom of outlet                  |\n |  to discharge line       |   to bottom of U-trap             |\n |_Drawing depth            |_Height above floor                |\n | persons served_ | discharge line_[3]| _Width_[4] | _Length_  |\n[3] Depending upon depth C of siphon.\n[4] Same as single chamber tank fig. 4.\nFigure 5.--Typical design for a concrete septic tank with a dosing\nchamber and a siphon.\nMasonry units should be laid in full beds of 1:3 cement mortar and\nthe walls and floor plastered with at least a 1/2-inch coat of 1:2\nmortar. Cells of concrete blocks and tile must be filled with concrete.\nMasonry walls are generally 8 inches thick, and care must be taken to\nfollow _inside_ dimensions given for concrete tanks. Directions for\nlaying structural tile, brick, and concrete blocks can be obtained from\ndealers or trade associations.\nCommercial tanks are suitable if they embody the essential features\ngiven in this bulletin. Capacities should be as recommended in figure\n4 for concrete tanks. Proper installation and periodic servicing also\nare essential. Tanks badly damaged in handling should not be used.\nRapid corrosion of steel tanks will result if the asphalt coating is\nimpaired. Minor defects in precast masonry tanks may often be overcome\nby plastering the interior with cement mortar.\nBUILDING A CONCRETE TANK[5]\n[5] For information on making and placing concrete, see Farmers'\nBulletin 1772, Use of Concrete on the Farm.\nA convenient method of assuring correct location of the tank is to\nbuild a frame as shown in figure 6. Care is necessary to aline it with\nthe center line of the inlet and outlet and to level it so that the\ndistance from the bottom of the 2 by 4's on the form to the lower edge\nof the inlet hole in the form will permit it to be set at the grade of\nthe house sewer. This frame is used to support the form for the tank.\nTo avoid caving the edges, drive the stakes supporting the frame before\nbeginning the excavation. The lumber in the frame can be used later to\nmake part of the tank baffles.\n[Illustration: Figure 6.--Method of outlining a septic-tank excavation\non the ground surface.]\nFigure 7 shows how an inside form can be built and hung in place. The\ninlet and outlet tees should be carefully set and tied in place before\nthe concrete is poured. A single length of pipe should be joined to\nthe tee, so that the two can be set in the form as one unit. In most\ncases the earth walls of the excavations will serve as the outside\nforms unless the soil is sandy or gravelly and the excavation is deeper\nthan 5 feet. If outside forms are used, space must also be provided for\nthem. Forms should be constructed before the excavation is made and the\ntank built as soon as practical, to avoid warping of forms and caving\nof earth walls.\n[Illustration: Figure 7.--Inside form hung in place for single-chamber\nseptic tank, also a form for casting concrete-slab cover in sections.]\nCounty agricultural agents, local health departments, building-material\ndealers, and other agencies often have forms that may be borrowed or\nrented.\nTHE EFFLUENT SEWER\nThe effluent sewer should be constructed in similar manner and of the\nsame materials as the house sewer and on a slope of 1/8 inch to 1 foot.\nThis line, however, may be laid of terra-cotta pipe, as cast-iron is\nnot considered necessary except in unusual cases. This line should\nalways terminate in a distribution box from which the tile lines\nof the disposal field lead away. For steep slopes the arrangement\nshown in figure 9 (p. 15) is practical. Joints must be of root-tight\nconstruction if the sewer is in the vicinity of trees or shrubs. The\nlength of the sewer depends upon the distance from the tank to a safe\nsite for the disposal field.\nTHE DISPOSAL FIELD\nCorrect installation of the disposal field is of great importance for\nproper functioning of the septic tank. Therefore, the width, depth,\nand spacing of the tile trenches must be carefully selected. Line of\n4-inch, open- jointed, agricultural drain tile laid in shallow trenches\nare ordinarily used. Perforated fiber drain pipes also may be used and\nare obtainable in 4-foot lengths.\nA distribution box with an inlet for the effluent sewer and an outlet\nfor each individual run of disposal tile is the best means of dividing\nthe flow. The outlet serving a large or double disposal field may be\nalternately opened and closed by means of a sewage switch that permits\nhalf the disposal field to work and rest alternately several weeks. A\nswitch is especially helpful in tight soils but should not be provided\nunless proper maintenance is assured, so that a portion of the disposal\nfield will not be left to handle the entire load of the system for an\nindefinite period. There are many variations of boxes, but figure 8\nshows a practical type.\n[Illustration: Figure 8.--Typical distribution box.]\nShallow Tile Lines\nThe disposal tile should not be more than 18 to 24 inches below the\nsurface, and where the ground-water level rises to the bottom of the\ntrench special underdrains, described on page 16, are necessary.\nSpecial provisions must also be made where tight soils are encountered.\nThese methods are described in the section entitled \"Disposal methods\nin tight or wet soils.\"\nThe table in figure 9, together with the information given in table 1,\nbelow, may be used for estimating the number of tiles needed in any\nparticular soil type. If there is any doubt about this requirement, a\npercolation test should be made in the disposal field, as follows:\nDig a hole 1-foot square and to the depth at which the tile is to be\nlaid. This depth in most instances will be about 24 inches and should\nnot exceed 36 inches. Fill the hole with water to a depth of 6 inches\nand observe the time required for the water to seep away; divide by 6\nto get the average time for the water to fall 1 inch. The test should\nbe repeated at three or four different points in the disposal field\nand the average time noted for all tests used. The data in table 1 can\nthen be used to determine the number of tiles needed. Where 1 hour is\nrequired for the water to fall 1 inch the soil is totally unsuitable,\nand another site should be selected. Soil conditions at the time of\nthe test may vary from year-round average conditions, and this factor\nmust be taken into account. If the soil appears exceptionally dry,\ngreater depths of water may be used or the test repeated in the same\nhole. In no case should tests be made in filled or frozen ground. Where\nfissured rock formations are encountered, advice should be sought from\nsanitation specialists.\nTable 1.--_Determining tile-disposal field requirements from\npercolation tests_[6]\n    Minutes   |  Effective absorption|| Minutes    | Effective absorption\n    required  |  area required, per  || required   |  area required, per\n  for water to|  person, in bottom   ||for water to|   person, in bottom\n  fall 1 inch | of disposal trenches ||fall 1 inch | of disposal trenches\n[6] A minimum of 150 square feet should be provided, equal to 100 feet\nof 18-inch trench.\n[7] If more than 60 minutes, use special design with seepage pits or\nsand-filter trenches.\nFigure 9 suggests methods of arranging the tiles in disposal fields\nunder varying conditions and the length of tiles needed.\n[Illustration: Figure 9.--Arrangements for tile-disposal fields, method\nof laying tile, and length of tiles needed.]\n                 SIZE AND MINIMUM SPACING REQUIREMENTS\n                         FOR DISPOSAL TRENCHES\n      | TRENCH  |  TRENCH  | EFFECTIVE ABSORPTION | TILE LINES  |\n      | WIDTH-W |  DEPTH-D | AREA IN SQUARE FEET  | SPACING-S   |\n      |IN INCHES| IN INCHES|   PER LINEAL FOOT    |  IN FEET    |\n    Wider spacing of the lines desirable where available area permits\n    DISPOSAL-TILE TRENCH\n    Disposal-tile lines--Maximum length for each line 100 feet.\n    All lines to be equal in length.\n    Disposal-tile lines to slope 2\" to 4\" per 100 feet, not over 6\".\n    Sewer-tile lines to slope 1/8\" to 1/4\" per foot.\nDISPOSAL METHODS IN TIGHT OR WET SOILS\nIf the soil is heavy clay or has tight formation, yet shows some\nporosity from percolation tests, the efficiency of the field may be\nincreased by placing below the tile lines 12 to 15 inches of additional\nfilter material (washed gravel, crushed stone, slag, clean cinders, or\nclean bank-run gravel 3/4 to 2-1/2 inches in size). When the surface\nsoil is tight and is underlain by porous soil, sufficient drainage\nis sometimes obtained for the smaller installations by omitting the\ntile field and providing a dry well at the end of the effluent sewer,\nprovided the water table will not be contaminated. Larger systems under\nsuch soil conditions should have a tile field, and absorption can be\nincreased by boring 6- or 8-inch holes down to the porous stratum and\nfilling them with gravel or sand; the holes should be 4 to 6 feet\napart. Another and perhaps the best practice is to excavate the tile\ntrenches 4 to 6 feet and install a lower tile line, as shown in figure\n10. This latter method is especially desirable if the upper tight\nstratum is especially thick, or if there is no porous lower stratum, or\nif in irrigated regions and where the disposal field is limited in area.\nWhere the underdrain tile is not used, the absorption capacity of the\nfield can be increased by providing a rock-filled trench across the\nlower end of the tiles for the full width of the field. The depth\nshould be not less than 5 feet and the width not less than 3 feet.\nOn account of the beneficial action of bacteria in the upper soil\nlayers it is highly desirable to confine the effluent near the surface\nrather than to use underdrains. Purification becomes slower and less\neffective, the deeper the drains.\nIn situations where the soil contains considerable moisture or is even\nsaturated, the field may be improved by partially encircling it with a\ntile line laid to serve as a drain. Such a line should be on the high\nside and have surface outlets for removing the water from the soil. It\nshould not be laid so close to a disposal tile line that it will drain\nthe sewage effluent from the disposal field onto the surface of the\nground.\n[Illustration: Slope of disposal tile 2 to 4 inches per 100 feet. Slope\nof underdrain tile not less than above.\nPlug upper end of underdrain tile lines, lower end to discharge into\nrock-filled seepage pit or into other approved outlet.\nFigure 10.--Filter trench with underdrains.]\nWhen the tile field is underlain by stratified rock or where\nunder-drainage is necessary, advice should be sought from the public\nhealth authorities, as regulations in some States may not permit the\nuse of certain methods.\nCARE AND MAINTENANCE OF SEPTIC TANKS\nA septic tank when first used does not need starters, such as yeast,\nto promote bacterial action. A good septic tank normally requires no\nmaintenance other than a yearly inspection and an occasional cleaning.\nFrequency of cleaning depends on the capacity of the tank and the\nquantity and composition of the sewage. Tanks of the size recommended\nin this bulletin may require cleaning at intervals of 3 to 5 years.\nThe tank should be cleaned when 18 to 20 inches of sludge and scum has\naccumulated. If a drain has not been provided, sludge may be removed by\nbailing or by pumping with a sludge or bilge pump. It is not necessary\nto remove the entire liquid contents. Burial in a shallow pit or trench\nwith at least 18 to 24 inches of earth cover at a point remote from\nwater sources is the most practical method for disposing of these\nwastes.\nA septic tank is intended to handle sewage only. Coffee grounds and\nground garbage may be included if there is an ample supply of water for\nflushing and the tank is cleaned more frequently than would otherwise\nbe done. The size of the tank should be increased at least 25 percent\nif these materials are included in the sewage.\n  =_Do not use matches or an open flame to inspect a septic tank, as\n    the gasses produced by decomposing sewage may explode and cause\n    serious injury._=\nEFFECT OF DRAIN SOLVENTS AND OTHER MATERIALS\nSoap, drain solvents, and other mild cleaning or disinfecting solutions\nused for normal household purposes cause no trouble in the tank.\nConstant use in large quantities, however, and disinfected wastes from\nthe sickroom may prove harmful.\nWastes from milk rooms, strong chemicals used in sterilizing equipment\nor in photographic work, and the wastes from filters or water softeners\nnot only reduce bacterial action but also cause abnormally rapid\naccumulations of sludge and clogging of the tile lines.\nPROTECTION AGAINST FREEZING\nSeptic-tank systems seldom freeze when in constant use. Warm water\nand the decomposition of the sewage usually maintain above-freezing\ntemperatures. In cold regions there is trouble from freezing if various\nparts of the system are not covered adequately. If the system is to be\nout of service for a period of time or if exposure is severe, it may be\nadvisable to mound over the poorly protected parts of the system with\nearth, hay, straw, brush, leaves, manure, snow, or the like.\nIn cold regions it is not advisable to install the entire system below\nfrost depth, as this will remove the effluent from the action of the\naerobic bacteria in the upper layers of the soil and make the system\ngenerally less accessible.\nNew systems put into operation during very cold weather may freeze\nunless large quantities of hot water are discharged during the first\nfew weeks.\nSEPTIC-TANK TROUBLES\nIn sewage disposal, clogging of the disposal field is the most common\ntrouble. This may be caused (1) by a tank too small for the volume of\nsewage, (2) by failure to clean the tank regularly, (3) by interior\narrangement that does not provide slow flow through the tank or that\nallows scum or sludge to pass out with the effluent, or (4) by a\ndisposal field that is too small or is incorrectly built.\nThe remedy for a clogged disposal field is to dig up and clean the\ntiles and re-lay them 3 or 4 feet to one side or the other of their\nformer position. Sometimes a tile line can be cleaned by opening up\nthe line at each end and flushing it thoroughly with a hose. With this\nmethod provision must be made to drain off and safely dispose of the\nwater used for flushing.\nTile lines laid with improper slope allow the effluent to collect in a\nlimited area and saturate the soil, causing odors. Bacteria cannot work\nin such areas, where the soil becomes sour, or \"sewage-sick.\" These\nlines must be relaid on the correct slope. Odors or a water-logged soil\nmay also indicate that the disposal field is too small.\nHouse sewers frequently clog. This is due, in most cases, to roots\nand less frequently to trash, garbage, or other foreign materials\ndischarged with the sewage. Greases in the sewer may cause trouble,\nespecially when the slope is insufficient to give the sewage a\ncleansing velocity. Drain solvents will sometimes remove the\nobstruction, but more often it is necessary to clean the sewer by\nrodding. In some cases it may be necessary to dig up the line to reach\nthe obstruction or, at least, to open the line so that it can be rodded\nfrom two directions. When it has been cleaned, a manhole could be built\nfor use in case of future trouble. If stoppage is due to roots it may\nbe necessary to re-lay the sewer with root-tight joints, or to move\neither the sewer or the vegetation so that roots cannot reach the line.\nGREASE TRAPS\nGrease traps (fig. 11) are not recommended for the average farm,\nbecause they clog easily and require frequent cleaning, but they are\ndesirable for boarding houses and tourist camps where large quantities\nof grease are produced. The septic tank if of proper design and size\nwill take care of the normal grease from most farm kitchens.\nThe traps must be several times larger than the quantity of greasy\nwater discharged into them at any one time, in order to allow the\ngreases to rise, but they should not be of less than 30 gallons'\ncapacity.\nThe trap is best located in an accessible place in the basement or\nunder the house close to the source of grease and safe from frost.\nOutdoor locations at shallow depths require a covering for insulation\nagainst freezing. Grease traps should be connected to the kitchen sink\nonly and not to laundry, shower, or water-closet wastes. They must be\ncleaned periodically for satisfactory operation, and the outlet should\nbe properly trapped.\n[Illustration: Figure 11.--Typical grease trap.]\nDISPOSAL OF DRAINAGE FROM FIXTURES OTHER THAN TOILETS\nWhen the farmhouse does not have an indoor toilet but does have a\nkitchen sink or other similar fixtures, the drainage can be disposed\nof as shown in figure 12. Even where septic tanks have been installed,\nit is sometimes advisable to have a second disposal field for other\nfixtures than the toilet, to avoid overloading the tank, especially\nwhere large quantities of laundry water are discharged at one time.\n[Illustration: Figure 12.--Disposal of drainage from kitchen fixtures,\nusing a line of terra cotta or fiber drain tile surrounded with\ngravel. One or two rock-filled pits at the end of the line increase\nthe absorption area and are desirable where there are several fixtures\nor the soil is nonporous. The pits may be lined with boards or masonry\nlaid without mortar and provided with a tight cover.]\nThese wastes are not likely to create serious health hazards, but they\nbecome nuisances if discharged promiscuously on the ground surface.\nSuch drainage should never be permitted on the watershed of a spring.\nCoarse sand and gravel, 12 to 18 inches deep, may be placed on the\nbottom of the pit, to strain out small particles of solids, which might\nclog the pores of the soil. If, after a few years, the sand or gravel\nbecomes clogged with solids, it should be replaced with clean materials.\nIf excessive quantities of grease are permitted to enter the sink\ndrain, a grease trap may be advisable.\nCESSPOOLS\nCesspools are cheap in first cost but high in maintenance costs and\noften become nuisances. They should be located at least 150 feet\nfrom wells, 15 feet from seepage pits and property lines, and 20 feet\nfrom dwelling foundations. They should never be used in the vicinity\nof shallow wells and, in any case, only where permitted by State\nregulations.\nThe cesspool depends for its action upon seepage into the surrounding\nsoil and consequently is particularly unsatisfactory in tight clay\nsoils. In more open sand and gravel soils the seepage is reduced as\nthe pores of the soil become clogged with particles of solids, until\nit stops entirely, and overflowing occurs. Emptying and then cleaning\nthe walls and floor of a cesspool do not fully open up the clogged soil\npores, and overflowing can be expected to occur soon again.\nSolids in cesspools must be removed from time to time by bailing or\npumping and should then be buried 18 to 24 inches deep in a trench\nwhere the water supply will not be endangered. Caustic potash (lye)\nwill to some extent liquefy solids in a cesspool. This treatment does\nnot eliminate the necessity of removing the contents when periodic\ninspection shows that the cesspool is nearly full. Caustic potash\nconverts the greases into soft soap, whereas caustic soda forms a hard\nsoap that does not readily dissolve. The chemical treatment is not\neffective in liquefying solids in the pores of the soil surrounding the\ncesspool.\n[Illustration: Figure 13.--A neat, whitewashed lattice along the paved\nwalkway provides protection from cold wind and rain and gives added\nprivacy.]\nWhen clogging continues and cannot be corrected, in most cases the best\nsolution to the problem would be to abandon the cesspool and install\na septic-tank system with tile disposal field. The cesspool should be\ncompletely filled with stones, earth, or other solid materials to avoid\npossible cave-ins.[8]\n[8] See The Septic Tank, p. 8.\nPRIVIES\nA privy when safely located and properly built and maintained is\nsatisfactory for its purpose on the farm. Privies should be built 50\nto 150 feet from the farmhouse, preferably on the opposite side of the\nhouse from prevailing winds, and at least 50 feet from the well. A site\ndownhill from the well is generally safest. In some cases, however,\nthe ground water may flow in a direction opposite to the slope of the\nsurface, in which case the privy should be built on the other side of\nthe well. Direction of flow may sometimes be learned from soil surveys,\nwell-driller's data, or other similar sources. A distance of at least 6\nfeet from fences or other buildings allows for proper mounding of the\nprivy and keeps it away from roof drainage from adjacent buildings.\nGood, tight construction with screened ventilators keeps insects and\nbirds from entering, prevents rapid deterioration of the building, and\nprovides greater comfort for the user.\nCertain features, while not essential to sanitation and satisfactory\nservice, add to personal convenience. A paved walkway, well protected\nfrom cold winds and rain, is desirable. A neat, whitewashed lattice, as\nshown in figure 13, an arbor covered with vines, or a hedge screen adds\nto privacy.\nThe earth-pit privy is the simplest to build and the one most widely\nused. It is not generally recommended in localities where underground\nrock has crevices.\nFor a sanitary type of privy with reinforced concrete[9] floor, riser,\nand supporting sills see figure 14. Because privy units are commonly\nused as urinals, the use of impervious materials for risers and\nfloors facilitates cleanliness. In the colder climates, wood treated\nwith a preservative is durable and reduces the problem of moisture\ncondensation. Therefore, wood could be used if approved by the State\ndepartment of health.\n[9] For information on making concrete see Farmers' Bulletin 1772, Use\nof Concrete on the Farm.\nWhen it is considered impracticable to build the slab and riser\nof concrete, these parts may be of wood, as shown in figure 16.\nThe building itself may be as shown in either illustration. A wood\nstructure is easy to move to a new location.\nA pit with a minimum capacity of 50 cubic feet[10] will usually serve\nfive people over a period of 5 to 10 years. The privy should be moved\nwhen the pit is filled to within 18 or 20 inches of the top and a\nstrong disinfectant spread in the old pit before covering it with earth.\n[10] Recommended by the Committee on Promotion of Rural Sanitation,\nPublic Health Engineering Section of the American Public Health\nAssociation, 1932.\n[Illustration: Figure 14.--Sanitary type of privy. Detailed plans and\na bill of materials for this design can be had from the United States\nPublic Health Service, Washington 25, D. C.]\nIt is important to have the earth-pit privy more than 50 feet from the\nwell even where the water table is not near the surface. The ground\nwater should flow from the well toward the privy, and it is important\nthat this direction of flow be determined in advance.\nWood is most commonly employed for the main part of the building. The\nground outside should be sloped as shown, to shed water away from the\nbuilding, and the roof should extend beyond the walls to shed water\naway from the pit.\nCARE AND MAINTENANCE\nAll privies require periodic attention. Seats and covers should be\nwashed weekly with soap and water or with disinfectants, such as\ncresol, pine oil, and hypochlorite or chloride of lime. These have\ndeodorant properties and are available at most grocery or drug stores.\nDruggists generally carry a more refined product and consequently the\nprice is higher.\nDuring the fly season fly and mosquito eggs will be destroyed by\npouring half a pint of crude oil, crankcase oil, fuel oil, kerosene, or\nborax solution (1 pound powdered borax dissolved in about 10 gallons of\nwater) over the contents of the pit about once a week.\n[Illustration: Figure 15.--Pit privy of all-wood construction. The\nsills and riser of this type should either be treated or made of\ncypress, redwood, cedar, locust, fir, or other decay-resistant wood.]\nOdors from privy pits and vaults can be reduced by covering the\ncontents with dry earth, ashes, manure, or sawdust. These materials\nfill up the pit rather quickly, but can be used where other deodorants\nare not available. Sometimes two cakes of yeast dissolved in 2 gallons\nof water are effective in reducing odors. Commercial deodorants are\navailable from suppliers of disinfectants.\nIf a person in the family has typhoid fever or is a carrier of that\ndisease or has dysentery, it is advisable to disinfect the excreta.\nFire, live steam, boiling water, and such chemicals as caustic\nsoda (sodium hydroxide), caustic potash (potassium hydroxide), or\nhypochlorite or chloride of lime may be used. The heat generated by the\nslacking of quicklime is also effective. Best results are obtained if\nthe infected material is treated prior to depositing it in the privy.\nFurther advice may be obtained from physicians, local health officers,\nor State health departments.\nCHEMICAL CLOSETS\nIn general, chemical closets should be used only where there are\nelderly or infirm people unable to get outdoors, particularly in\nwinter-time. In some localities their use is forbidden by law because\nof improper maintenance. Strict adherence to the manufacturer's\ndirections for making the installation is necessary to obtain\nsatisfactory service. The chief advantage of chemical closets is that\nthey may be within or adjoining the house and used without regard\nto soil or ground-water conditions. The caustic chemicals required,\nif used properly, reduce the quantity of solid matter by liquefying\naction, disinfect and deodorize the contents, and lessen danger from\nflies. Disadvantages are the cost of the chemicals and necessity for\ncareful and constant maintenance.\nThe chemical-tank closet is generally recommended rather than the\ndry-type chemical closet. Three variations of tanks are available\ncommercially. One type contains a clean-out opening in the top of the\ntank, through which the contents are removed by pumping or bailing.\nThe second type has, in addition to a clean-out opening, a drain valve\nat the bottom, which is operated by a handle extending to a clean-out\nopening, so that gravity drainage of the tank is possible. The third\ntype is self-draining; as the excreta are added an equal volume of\nliquid is spilled out the overflow. The solid matter must be removed\nmanually or through the sludge drain.\nThe last-mentioned type requires frequent addition of chemicals, and\nthe others are recharged after each emptying. The presence of odor is\nan indication of insufficient chemical or of the need for emptying\nand recharging. The same precautions apply to selecting an area for\ndisposing of the tank wastes as to disposing of the materials removed\nfrom cesspools.[11] Since the contents of chemical closets are caustic,\nthey may kill vegetation with which they come in contact.\n[11] For disposal methods in tight soils, see p. 16.\nThe dry-type chemical closet is cheap, simple, and easy to install\nbut requires frequent emptying. Pine tar and coal tar will accomplish\nonly partial disinfection and deodorization, but caustic disinfectants\nproduce liquefication in addition if used in sufficient quantities.\nThe caustic chemicals may cause burns if the receptacle is too full or\nif spilled where they come in contact with the body.\nThis form of closet is more of an expedient than a permanent\ninstallation, and daily care is necessary to prevent the development of\ninsanitary conditions.\nDISPOSAL OF GARBAGE AND TRASH\nDomestic garbage and trash on farms can be divided into four\nclasses--(1) waste of plant or animal origin suitable for animal feed,\n(2) unpalatable plant or animal waste, (3) combustible trash, and (4)\nnoncombustible material. The disposal of these wastes is simplified if\nthe four classes are kept separate.\nTrash to be burned should be kept dry. Coffee grounds, tea leaves,\ncitrus rinds, fish heads, entrails, eggshells, and similar material are\nmost readily handled if drained and put in paper sacks.\nCans should be placed where they will not collect water and become\nbreeding places for mosquitoes. Cans will corrode faster if heated\nsufficiently to burn off all grease. When the trash accumulates it\nshould be hauled to some out-of-the-way place, such as a gully, or\nburied.\nNeat-appearing garbage containers are desirable for kitchen use and\nshould be small enough to require daily emptying. Large containers\nmay be placed within easy reach outside the house and screened with a\nlattice fence or shrubbery. Substantial containers of rust-resistant\nmetal will not quickly become an eyesore and a nuisance. Tight covers\nshould be used to keep out prowling animals and to eliminate the habit\nof tossing wastes from the back door. Open or wooden containers are not\nrecommended.\nA good way to protect the garbage pail is to place it in a small pit\nthat has a manhole frame and a lid that can be raised by foot pedal. A\ngravel bottom in the pit will assist in draining water away.\nOutdoor receptacles, if emptied and cleaned once a week, generally do\nnot become foul. Grease, coffee grounds, and other similar materials\nthat adhere to the sides of containers can be removed by scraping with\na little sand prior to scalding.\nElectrically operated units grind garbage and bones and discharge the\nmaterial through the kitchen-sink drain. They will not handle tin cans,\nglass, and the like. They may be used on farms if the septic tank is\nlarger than normal and if sufficient water is available for flushing\nthe drain to prevent clogging.\nGarbage to be fed to animals should be preserved as carefully as is\nhuman food. To prevent the spread of trichinosis and other diseases, it\nshould be cooked before it is fed to hogs. Garbage left uneaten by the\nanimals should be disposed of by one of the methods described above.\nIncineration is the most sanitary method of disposing of farm wastes.\nGarbage, however, is not easily burned. Figure 16 shows a type of\nincinerator[12] suitable for farm homes. Details of construction for\na brick incinerator are given in figure 17. Brick, stone, concrete,\nor other fire-resistant material may be used. Commercial incinerators,\nsome of which are designed to be built into the house, also are\navailable, although these cost considerably more than the home-made\ntype shown.\n[12] Blueprints of this design may be obtained from the extension\nagricultural engineers at most of the State colleges.\nA limited quantity of refuse may be burned in a kitchen range or a\nfurnace, but it may cause accumulations of grease in the flue and\nrequire frequent cleaning to prevent fire.\nNext to burning, burial is the most desirable method of waste disposal.\nWaste material may be deposited in a trench 3 or 4 feet wide, 7 or 8\nfeet long, and 4 or 5 feet deep and covered with earth when filled to\nwithin 18 inches of the top. If there is no fire hazard, the contents\nof the trench may be burned.\nGarbage may be included in a compost heap with leaves, peat, manure,\nand similar materials. The compost pile should be in an inconspicuous\nplace, built up to the desired height with materials that will rot,\nand then covered with 2 or 3 inches of earth. The top should be\nlevel and the sides steep sloping. It is necessary that the material\nbeing composted be kept moist; otherwise it will not rot. Frequently\ncommercial fertilizer is added to increase the fertilizing value of the\ncompost.\nAshes and clinkers removed from furnaces should be placed in metal\ncontainers to eliminate fire hazard. Wood ashes may be spread on the\nlawn or garden, as they have some fertilizing value.\n[Illustration: Figure 16.--A satisfactory incinerator for household\nuse.]\n[Illustration: Figure 17.--Details of construction of the household\nincinerator pictured in figure 16.]\nTrash burners of various designs suitable for burning small quantities\nof paper and rags are available or may be improvised. The main\nrequirements are provision for adequate draft and for preventing the\nescape of burning paper or live embers.\nU. S. GOVERNMENT PRINTING OFFICE: 1948\nFor sale by the Superintendent of Documents, U. S. Government Printing\nOffice Washington 25. D. C. -- Price 10 cents\nTranscriber Note\nIllustrations were repositioned so as to not split paragraphs.", "source_dataset": "gutenberg", "source_dataset_detailed": "gutenberg -  Sewage and Garbage Disposal on the Farm\n"},
{"source_document": "", "creation_year": 1939, "culture": " English\n", "content": "E-text prepared by Al Haines\nWHERE THE SUN SWINGS NORTH\nby\nBARRETT WILLOUGHBY\nA. L. Burt Company\nPublishers ------ New York\nPublished by arrangement with G. P. Putnam's Sons\nPrinted in U. S. A.\nCopyright, 1922\nby\nFlorance Willoughby\nThis edition is issued under arrangement with the publishers\nG. P. Putnam's Sons, New York And London\nTO\nMY MOTHER\nWHO CAN MAKE A TENT IN THE WILDERNESS\nSEEM LIKE HOME\nIn this book I write of my own country and its people as I know\nthem--not artfully, perhaps, but truthfully.\nBARRETT WILLOUGHBY.\nKatalla, Alaska.\nCONTENTS\nPART I\nCHAPTER\n      I.--THE WHITE CHIEF OF KATLEEAN\n     II.--THE CHEECHACO\n    III.--THE LITTLE SQUAW WITH WHITE FEET\n     IV.--BAIT\n      V.--THE FUNERAL CANOES\n     VI.--THE WHITE CHIEF MAKES MEDICINE\n    VII.--THE POTLATCH DANCE\n   VIII.--THE OUTFIT\n     IX.--HARLAN WAKES UP\n      X.--THE PIGEON\nPART II\n     XI.--THE ISLAND OF THE RUBY SANDS\n    XII.--THE LANDING\n   XIII.--THE CABIN\n    XIV.--THE CASTAWAY\n     XV.--THE GIANT BALLS OF STONE\n    XVI.--THE STORM\n   XVII.--THE MYSTERIOUS PRESENCE\n  XVIII.--THE PERIL OF THE SURF\n    XIX.--HOME MAKING\n     XX.--GOLD\n    XXI.--KOBUK\n   XXII.--AT THE LONE TREE\n  XXIII.--ELLEN\n   XXIV.--MAROONED\nPART III\n    XXV.--ON RATIONS\n   XXVI.--WINTER DAYS\n  XXVII.--SPRING\n XXVIII.--THE CLEFT\n   XXIX.--THE SECRET OF THE CLIFFS\n    XXX.--THE PIGEON'S FLIGHT\n   XXXI.--THE JUSTICE OF THE SEA\n  XXXII.--BENEATH THE BLOOD-RED SUN\n XXXIII.--ANCHORS WEIGHED\nWHERE THE SUN SWINGS NORTH\nPART I\nCHAPTER I\nTHE WHITE CHIEF OF KATLEEAN\nIt was quiet in the great store room of the Alaska Fur and Trading\nCompany's post at Kat-lee-an.  The westering sun streaming in through a\nside window lighted up shelves of brightly labeled canned goods and a\nlong, scarred counter piled high with gay blankets and men's rough\nclothing.  Back of the big, pot-bellied stove--cold now--that stood\nnear the center of the room, lidless boxes of hard-tack and crackers\nyawned in open defiance of germs.  An amber, mote-filled ray slanted\ntoward the moss-chinked log wall where a row of dusty fox and wolverine\nskins hung--pelts discarded when the spring shipment of furs had been\nmade, because of flaws visible only to expert eyes.\nAt the far end of the room the possessor of those expert eyes sat\nbefore a rough home-made desk.  There was a rustle of papers and he\nclosed the ledger in front of him with an air of relief.  He clapped\nhis hands smartly.  Almost on the instant the curtain hanging in the\ndoorway at the side of the desk was drawn aside and a small, brown\nfeminine hand materialized.\n\"My cigarettes, Decitan.\"\nThe man's voice was low, with that particular vibrant quality often\nfound in the voices of men accustomed to command inferior peoples on\nthe far outposts of civilization.\nThe curtain wavered again and from behind the folds a brown arm, bare\nand softly rounded, accompanied the hand that set down a tray of\nsmoking materials.\nWith a careless nod toward his invisible servitor, the man picked up a\ncigarette and lighted it.  He took one long, deep pull.  Tossing it\naside he swung his chair about and faced the open doorway that gave on\na courtyard and the bay beyond.\nHe readjusted the scarlet band about his narrow hips.  Flannel-shirted,\nhigh-booted, he stretched his six-foot length in the tilting chair and\nclasped his hands behind his head.  The movement loosened a lock of\nblack hair which fell heavily across his forehead.  His eyes, long,\nnarrow and the color of pale smoke, drowsed beneath brows that met\nabove his nose.  Thin, sharply defined nostrils quivered under the\nslightest emotion, and startling against the whiteness of his face, was\na short, pointed beard, black and silky as a woman's hair.  When Paul\nKilbuck, the white trader of Katleean, smiled, his thin, red lips\nparted over teeth white and perfect, but there was that in the long,\npointed incisors that brought to mind the clean fangs of a wolf-dog.\nHe closed his pale eyes now and smiled to himself.  His work on the\nCompany's books was finished for the present.  He hated the petty\ndetails of account keeping, but since the death of old Add-'em-up Sam,\nhis helper and accountant, who had departed this world six months\nbefore during a spell of delirium tremens, the trader had been obliged\nto do his own.\nQueer and clever things had Add-'em-up done to the books.  Down in San\nFrancisco the directors of the Alaska Fur and Trading Company had long\nsuspected it no doubt, but it was not for nothing that Paul Kilbuck was\nknown up and down the coast of Alaska as the White Chief.  No other man\nin the North had such power and influence among the Thlinget tribes.\nNo other man sent in such quantities of prime pelts; hence the White\nChief of Katleean had never been obliged to give too strict an\naccounting of his stewardship.  Taking what belongs to a company is\nnot, in the elastic code of the North, considered stealing.  \"God is\nhigh above and the Czar is far away,\" said the plundering, roistering\nold Russians of Baranoff's day, and the spirit in the isolated posts\nhad not changed, though Russian adventurers come no more to rape Alaska\nof her riches, and the Stars and Stripes now floats over the old-time\nRussian stronghold at Sitka.\nFor eighteen years Kilbuck had been the agent of the Company.  In\ntrading-posts up and down the coast where the trappers and prospectors\ngather to outfit, many tales of the White Chief were afloat: his trips\nto the Outside[1]; his lavish spending of money; his hiring of private\ncars to take him from Seattle to New York; his princely entertainment\nof beautiful women.  In every story told of Paul Kilbuck there were\nwomen.  Sometimes they were white, but more often they were dusky\nbeauties of the North.\nAmong the several dark-eyed Thlinget women who occupied the mysterious\nquarters back of the log store, there was always rejoicing when the\nWhite Chief returned from his visits to the States.  He was a generous\nmaster, bringing back with him many presents from the land of the white\npeople--rings, beads, trinkets, and yards of bright colored silks.  The\nfavorites of his household fondled these gifts for a time with soft,\nguttural cries of delight and gentle strokings of their slim, brown\nhands, and then laid them away in fantastically carved Indian chests of\nyellow cedar.\nPerhaps the strangest of these gifts had been a pair of homing pigeons,\nwhich had thrived and multiplied under the care of Add-'em-up Sam.  A\nfluttering of wings now outside the doorway bespoke the presence of\nsome of them, and Kilbuck stirred in his chair and opened his eyes.\nHe had been many hours alone in the store, but he had been prepared for\nthat today.  The entire post of Katleean was getting ready for the\nPotlatch, an Indian festival scheduled for the near future.  For this\noccasion Kayak Bill, in his carefully secreted still across the lagoon,\nhad completed a particularly potent batch of moonshine, known locally\nas hootch.  The arrival, earlier in the afternoon, of the jocose old\nhootch-maker with a canoe-load of his fiery beverage, had been a signal\nfor a gathering at his cabin across the courtyard.  From the sounds\nthat now floated out on the late afternoon air, he must already have\ndistributed generous samples of his brew.\nThe White Chief rose from his chair and reached for another cigarette.\nAs usual, he tossed it away after one long, deep inhalation.  Before\nthe smoke cleared from his head, he was crossing the store room with\nhis easy panther tread--the result of former years of moccasin-wearing.\nIn the open doorway he paused, leaned against the portal and hooked one\nthumb beneath his scarlet belt.  His narrow eyes swept the scene before\nhim.  Across the bay, between purple hills, a valley lay dreaming in\nrose-lavender mist.  Blue above the August haze was a glimpse of a\nglacier, and farther back, peaks rose tier upon tier in the vague,\namethystine distance.\nSuddenly the quiet beauty was shot through with the sound of loud\nvoices and snatches of song issuing from the cabin of Kayak Bill.  The\ntrader listened with a smile that was half a sneer.  He himself never\ndrank while at the post, deeming that it lessened his influence with\nthe Indians.  But among the secrets of his own experience were memories\nof wild days and nights aboard visiting schooners, at the end of which\nprone in the captain's bunk, he had lain for hours in alcoholic\noblivion.\nThe voices from the cabin ceased abruptly.  Then like the bellow of a\nfog horn on a lonely northern sea came Kayak Bill's deep bass:\n  \"Take me north of old Point Barrow\n  Where there ain't no East or West;\n  Where man has a thirst that lingers\n  And where moonshine tastes the best;\n  Where the Arctic ice-pack hovers\n  'Twixt Alaska and the Pole,\n  And there ain't no bloomin' fashions\n  To perplex a good man's soul.\"\nThere was a momentary pause followed by a hubbub of masculine voices\napparently in a dispute as to how the song should run.  High above the\nothers rose a squeaky Scandinavian protest:\n\"By yingo, ven ay ban cook on _Soofie Suderlant_ ve sing it so _dis_\n\"Close yore mouth, Silvertip.\"  As a whale would swallow a minnow so\nKayak Bill's drawling tones engulfed the thin, high accents of the\none-time cook of the _Sophie Sutherland_.  \"I ain't no nature for\nSwedes a-devilin' o' me.  I been singin' that song for nigh on to ten\nyars, and by the roarin' Jasus, I reckon I know how to sing it.  Come\non boys--now all together!\"\nJoining the again raised bass of Kayak Bill, several voices took up the\nrollicking strain, among them the high, easily recognizable tenor of\nSilvertip, and the voice of another, a baritone of startling mellowness\nand purity, having in it a timbre of youth and recklessness:\n  \"Up into the Polar Seas,\n  Where the Innuit maidens be,\n  There's a fat, bright-eyed va-hee-ney\n  A-waitin' there for me.\n  She's sittin' in her igloo cold,\n  Chewing on a muckluck sole,\n  And the sun comes up at midnight\n  From an ice-pack round the Pole.\"\nAt the sound of the baritone, the White Chief hitched his shoulders\nwith a movement of satisfaction.  Add-'em-up Sam's successor, the\nbookkeeper, was bidding fair to follow in the sodden footsteps of his\npredecessor.  Given a little more time and this baritone-singing\n_cheechako_[2] would be where the White Chief need have no anxiety as\nto the accounts rendered the Company's new president, whom Kilbuck had\nnever seen.  A little more time, a little more hootch, and he would\nalso have settled the case of Na-lee-nah.\nThe thought of the Thlinget girl's soft brown eyes brought a momentary\npang.  The white plague permitted few native women to become old.\nTwice now Naleenah had lost her voice, and only last night he had\nnoticed behind her soft, her singularly beautiful little ears, the\npeculiar drawn look that to his practiced eye spelled tuberculosis.\nShe would last two years more, perhaps, but in the meantime he must\nprotect himself--he stirred uneasily.  The bookkeeper must be made to\ntake her off his hands.\nHis musing was broken into by another burst of song:\n  \"Oh-o-o-o!  I am a jolly rover\n  And I lead a jolly life!\n  I have my hootch and salmon\n  And a little squaw to wife.\"\nSimultaneously the door of Kayak Bill's cabin opened and the owner, a\ntatterdemalion figure, stood for a moment on the doorstep.  Stretching\nhis arms above his head, he yawned prodigiously, and then, espying\nKilbuck, sauntered across the courtyard toward him.\nAn old sombrero curved jauntily on red-grey hair that was overly long.\nA wavy beard of auburn-grey spread over the front of his blue flannel\nshirt.  Hanging loosely from his shoulders a hair-seal waistcoat,\nbrightly trimmed with red flannel, served as a coat above faded blue\noveralls, and from the knees down Kayak Bill was finished off with hip\nrubber boots, the turned-down tops of which flapped with every step,\nlending a swashbuckling air to his rolling gait.\nHe seated himself leisurely on the steps below the platform in front of\nthe trading-post door.\n\"By hell, Chief,\" he drawled, drawing a huge clasp-knife from his\npocket, \"I been grazin' on this here Alasky range nigh on to twenty\nyars, and so help me Hannah, I never did find a place so wild or a\nbunch o' hombres so tough but what sooner or later all hands starts\na-singin' o' the female sect.\"  With a movement of his thumb Kayak Bill\nreleased the formidable blade of the knife, and nonchalantly,\ndexterously, began using it as a toothpick.\n\"Yas,\" he said slowly, in answer to the other's silence, \"a-talkin' and\na-singin' o' women and love. . . .  Now, I hearn tell a heap about love\nand women in my time, but neither o' them things has affected my heart\never, though one time a spell back, tobaccy did.  Still, Chief, with\nall respects to yore sentiments regardin' them Chocolate Drops what\ninhabits yore harem, . . . still, it sort o' roils me up to hear a\nwhite man a-talkin' and a-singin' o' takin' a squaw to wife.\"\nThere was an involuntary contraction of the hand that was hooked under\nPaul Kilbuck's belt.  Not another man from Dixon's Entrance to Point\nBarrow would have dared to hint at the White Chief's domestic\narrangements in that gentleman's hearing, but there was something in\nthe soft twinkle of Kayak Bill's hazel eye, something in the crude,\nwhimsical philosophy distilled in the old hootch-maker's heart, that\namused, while it piqued the trader at Katleean.  He sat down now on the\nsteps beside his visitor.\n\"Kayak,\" he said, almost gently, \"when an old fellow like you begins to\ntalk about squaws I have to smile.  A man past sixty--!  But how about\ntwenty-five years ago? . . .  What's a man going to do when he finds\nhimself on the edge of the wilderness and--he wants a woman?\"\nKilbuck's voice rose slightly, his black brows drew together over the\npale, unseeing eyes that sought the distant peaks, his thin nostrils\nquivered.  \"It's a wild country up here, Kayak.  Makes a man hunger for\nsomething soft and feminine--and where's the pale-faced woman who would\nfollow a man into this--\"  He finished his sentence with a wave of his\nhand.  \"That is a woman one would marry,\" he amended.  \"The average\nfemale of that country down south has no spirit of adventure in her\nmake-up.\"\nKayak Bill closed his clasp-knife, restored it to his pocket and slowly\ndrew forth an ancient corn-cob pipe.\n\"Wall, Chief,\" he drawled presently between puffs, \"I ain't a-sayin'\nyore not right, seein' as you've had consid'able more experience with\npetticoats than me; but one time I hearn a couple o' scientific dudes\na-talkin' about females and they was of the notion that sons gets their\nbrains and their natures from their mammies.\"  Disregarding the\ncontemptuous sound uttered by the White Chief, Kayak's slow tones\nflowed on: \"And I'm purty nigh pursuaded them fellows is right. . . .\nTake it down in Texas now, where I was drug up.  I'm noticin' a heap o'\ntimes how the meechinest, quietest little old ladies has the rarin'est,\nterrin'-est sons, hell-bent on fightin' and adventure. . . .  Kinder\nseems to me, Chief, that our women has been bottled up so long by us\nmen folks they just ain't had no chance to strike out that way, except\nby givin' o' their natures to their sons.  You take any little gal,\nChief, a-fore they get her taken with the notion that it ain't\nlady-like to fight, and by hell, she can lick tar outen any boy her\nsize in the neighborhood.  Same way with she-bears, or a huskie bitch.\nDurned if they don't beat all get-out when it comes to fightin'\ncourage!\"\nKayak Bill drew once or twice on his pipe with apparently\nunsatisfactory results, for he slowly removed his sombrero, drew a\nbroom-straw from inside the band, extracted the stem of the corn-cob\nand ran the straw through it.  The immediate vicinity became\nimpregnated with a violent odor of nicotine.  The White Chief, however,\nmusing close by on the steps, seemed not to notice it.  His eyes were\nfixed on three Indian canoes being paddled in from the lagoon across\nthe bay which was now taking on the opalescent tints of the late Alaska\nsunset.\n\"What I been a-sayin' goes for the white women, Chief.  As for them\nChocolate Drops--wall, I ain't made up my mind exactly.  'Pears to me\nif I ever went a-courtin' though, it would be just like goin'\na-huntin': no fun in it if the end was certain and easy-like.  Barrin'\nthe case of Silvertip and Senott, his squaw, it's like this: you say\n'Come,' and they come.  You say 'Go,' and they go.  Now, a white woman\nain't that way.  By the roarin' Jasus, you never can tell which way\nshe's goin' to jump!\"  Kayak Bill held the stem of his pipe up to the\nlight and squinted through it, fitted it again into the bowl and gave\nan experimental draw.  \"But everybody to his own cemetery, says I.\"\n\"Bill, you old reprobate, you have an uncanny way of picking the weak\nspots in everything.  There's some truth in that last. . . .  Gad, I'd\nlike to get into a game of love with a woman of my own blood up here in\nthe wilderness! . . .  There's never been a white woman in Katleean.\nIt would be great sport to see one up against it here, eh, Kayak?\"  The\nWhite Chief turned, smiling, and the light in his pale, narrow eyes\nmatched the wolfish gleam of his sharp teeth.\nThe face of the old hootch-maker was hidden in a smoke cloud, but his\nvoice drawled on as calmly as ever: \"Wall, from what I hearn tell when\nI'm over at the Chilcat Cannery, Chief, you may get a chance to see a\nwhite woman at Katleean purty soon.  There's a prospector named\nBoreland a-cruisin' up the coast in his own schooner, the _Hoonah_, and\nfrom what I can make out he's got his wife and little boy with him.\"\nThe trader turned sharply.  Like a hungry wolf scenting quarry he\nraised his head.  There was a keener look in his eye.  His thin\nnostrils twitched.\n\"A _white_ woman, Kayak?  Are you sure?\"\nBefore Kayak Bill could answer there came an extra loud burst of song\nfrom the cabin across the courtyard.  The door had been flung wide and\nin the opening swayed the arresting figure of the leader of the wild\nchorus.\n[1] Name by which the States is designated in the North.\n[2] Newcomer.\nCHAPTER II\nTHE CHEECHAKO\nHe was young and tall and slight, with a touch of recklessness in his\nbearing that was somehow at variance with the clean-cut lines of his\nface.  He stood unsteadily on the threshold, hands thrust deep in the\npockets of his grey tweed trousers, chin up-tilted from a strong, bare\nthroat that rose out of his open shirt.  As the singing inside the\ncabin ceased, he shook back the tumbled mass of his brown hair and\nalone his mellow baritone continued the whaler's song:\n  \"Up into the Polar Seas,\n  Where the greasy whalers be,\n  There's a strip of open water\n  Reaching north to eighty-three----\"\nThe White Chief, with his eyes on the singer, spoke to Kayak Bill.\n\"Our gentleman-bookkeeper takes to your liquid dynamite like an Eskimo\nto seal oil, Kayak.  He's been at Katleean three months now, and I'll\nbe damned if he's been sober three times since he landed.  Seems to be\nhitting it up extra strong now that the Potlatch is due--\" Kilbuck\nlowered his voice--\"I want nothing said to him of the prospector and\nhis white wife, _understand_?\"\nAt the dictatorial tone flung into the last sentence there came a\nnarrowing of the old hootch-maker's eyes.  It was seldom that Paul\nKilbuck spoke thus to Kayak Bill.\nThe singer was crossing the courtyard now with steps of exaggerated\ncarefulness.  Suddenly he paused.  His dark eyes, in vague, alcoholic\nmeditation, sought the distant peaks stained with the blush-rose of\nsunset.  The evening-purple of the hills fringed the bay with mystery.\nGulls floated high on lavender wings, their intermittent plaint\nanswering the Indian voices that drifted up from the beach where the\ncanoes were landing.\nKayak Bill moved over on the step, indicating the space beside him.\n\"Come along side o' me, son, and get yore bearin's!\" he called.\n\"Yes, Harlan, stop your mooning and come here.  I want to talk to you.\"\nGregg Harlan turned, and the smile that parted his lips, though born in\na liquor-fogged brain, was singularly winning.\n\"Chief,\" his words came distinctly but with careful deliberation, \"an\noutsider would think--that I am--a--fellow of rare--judgment and\ns-sound phil-os-ophy from the way--you're always--wanting to\ntalk--to--me.\"\nHe advanced and seated himself on the steps near the base of the\nflag-pole, leaning heavily against it.  The gay recklessness that is\nthe immediate effect of the fiery native brew of the North was\nevidently wearing away, and preceding the oblivion that was fast coming\nupon him, stray glimpses of his past, bits of things he had read or\nheard, and snatches of poetry flashed on the screen of his mind.\n\"It doesn't go with me--Chief.  Don't--bring on--your--little\nforest--maiden--Naleenah--again.  Tired--hearing about--her.\nKnow--what you say: Up here--my people--never know.  _Me_--a squaw man!\nLord!  What do I want--with--a squaw?\"  He laughed as at some blurred\nvision of his brain.  \"It's not that--I'm so damned virtuous, Chief.\nBut I'm--fas-fas-tid-ious.  That's it--fastidious----\"\nPaul Kilbuck's eyes flashed a cold steel grey.  \"We'll see how\nfastidious you'll be a year from now.\"  His lip lifted on one side\nexposing a long, pointed tooth.  \"That'll be enough, now, Harlan.\"\n\"Sure, 's enough--for me, Chief,\" admitted the young man with drowsy\ngood nature, as his tousled head sought a more comfortable place\nagainst the flagpole.  \"Pardon--casting aspersions--on your--taste in\nwomen, Chief.  Wouldn't do--it--if sober.  Hate to be sober.  Makes me\nfeel--re-responsible for so--many things. . . .  Hence flowing bowl.\n'Member old Omar--unborn Tomorrow and dead--Yesterday. . . .  Why fret\n'bout it--if--if--today--be--sweet.\"  His voice trailed off in a murmur\nand his boyish chin with its look of firmness despite his dejection,\nsank slowly on his breast.\nThe canoes had made a landing.  A dozen or more Thlinget women came\nstraggling up the beach laden with the fruits of their afternoon\nlabors: gay-colored baskets of wild strawberries, red and fragrant from\nthe sand-dunes along the lagoon.  From the Indian Village, a short\ndistance down the curve of the beach where the smokes of evening fires\nwere rising, a welcoming buck or two came to accompany the softly\nlaughing squaws.\nSlightly in advance of the shawled figures moving toward the group on\nthe steps walked one whose slenderness and grace marked her from the\nrest.  A scarlet shawl splashed the cream of her garments.  Unlike the\nother women, she wore no disfiguring handkerchief on her head.  Her\nface, oval and creamy-brown, was framed by two thick braids that fell\nover her shoulders.  In the crook of her arm rested a basket of\nberries.  At her side, rubbing against her now and then, came a\npowerful huskie, beautiful with the lean grace of the wolf and\npaw-playing as a kitten.\n\"Mush on,[1] Kobuk!  Mush--you!\"  She laughed, pushing him aside as she\nadvanced.\nWhen she smiled up at the white men her face was lighted by long-lashed\nchildish eyes, warm and brown as a sun-shot pool in the forest.\nThe White Chief rose.  With an imperious gesture he motioned the other\nIndians back.\n\"_Ah cgoo_, Naleenah!  Come here!\"  In rapid, guttural Thlinget he\nspoke to the girl, pointing from time to time to the now unconscious\nHarlan.\nAs she listened the smile faded from her face.  Her smooth brow\npuckered. . . .  She turned troubled eyes to Kayak Bill, sitting\nsilent, imperturbable, in a cloud of tobacco smoke, his interest\napparently fixed where the slight breeze was ruffling the evening\nradiance of the water.\nStill mutely questioning, Naleenah glanced at the figure of the young\nwhite man, slumped in stupor against the flag-pole. . . .  A look of\nunutterable scorn distorted her face.  Then she looked up at the White\nChief shaking her head in quick negation.\nAt her rebellion Kilbuck's voice shot out stingingly like the lash of a\nwhip.  With a hurt, stunned expression the girl shrank back.  Her shawl\nshivered into a vivid heap about her feet.  The basket of berries\nslipped unheeded to the sand, their wild fragrance scenting the air\nabout her.\nWhile he was still speaking she started forward, her wide, idolatrous\neyes raised to his, her little berry-stained hands held out\nbeseechingly.\n\"No--no, Paul!\"  Anguish and pleading were in her broken English.  \"No,\nno!  I can not do!  Too mooch, too mooch I loof you, Paul!\"  Brimming\ntears overflowed and rolled slowly down her cheeks.\nKayak Bill rose hastily and stalked across the platform into the store.\nThe White Chief turned away with tightening lips, but there was no\nsoftening in his smoke-colored eyes.  It would be to his interest to\nhave his bookkeeper a squaw-man.  The old Hudson Bay Company factors\nhad proved the advantage of having their employees take Indian women.\nFor his own health's sake he must get rid of Naleenah.  The tubercular\ngirl would live longer in the house of a white man than with her own\npeople, where he would soon be forced to send her.  He was, therefore,\ndoing her a kindness in turning her over to Harlan.\nHe lighted a cigarette, inhaled a deep draught, and tossing the\nscarcely burned weed away, crossed deliberately to the huddled figure\nof Gregg Harlan.  He shook him by the shoulder.\n\"Wake up!\" he ordered, \"and go to your bunk.\"\nFrom Kayak Bill's cabin doorway several men drifted curiously toward\nthe store steps.  The natives gathered closer.\nThe bookkeeper raised his head and passed a slow hand over bewildered\neyes.\n\"Beg--pardon, Chief,\" he said quickly, as he rose on unsteady legs,\n\"making sleeping porch--of your--steps. . . .  Awf-lly tired. . .\"\nWavering, he clung for support to the flag-pole.\nWith a peremptory gesture Kilbuck motioned to Naleenah.\n\"Take this man to his cabin,\" he snapped, \"and--\" he paused\nsignificantly, \"remember what I have told you.\"\nThe girl came forward with drooping head and listless arms.  She paused\ndully beside the flag-pole.  The trader placed the arm of the stupefied\nyoung man across her slim shoulders.  Obediently she led her charge\naway in the direction of the small cabins across the courtyard.\nThough the eyes of the spectators had been intent on the drama of the\nsteps, only Kayak Bill, perhaps, knew its real significance.  The old\nman now stood in the doorway of the store, his sombrero pushed to the\nback of his head, a pair of binoculars held against his eyes.\nFrom around the point beyond the Indian Village and into the bay, a\nwhite-sailed schooner had drifted.  As it advanced there was wafted\nacross the water a faint and silvery fragment of melody which endured\nbut a moment and was gone.\nThe White Chief turned his back on the courtyard and for the first time\nnoted Kayak Bill's attitude.  He followed the direction of the old\nman's gaze and beheld the incoming vessel just as the white men and\nIndians behind him broke out in a babble of interest and curiosity.\nThere floated inshore the rattle of the windlass letting go the anchor\nchain.  On the deck of the schooner men ran about as the sails were\nlowered.  The vessel swung gently until the bow headed into the current\nof the incoming tide.\n\"Get out the canoe, Silvertip,\" ordered the trader, turning to his\nhenchman, \"and take Swimming Wolf with you.  Find out who's----\"\nHe broke off, wondering, incredulous, for at that moment across the\nwater came the golden singing of a violin.  Wonderfully low and tender\nit began.  Swelling, it rose and soared and trembled, then with\nlingering, chorded sweetness died away like the exquisite music of a\ndream.\nThe listeners on the shore stood spellbound.  Gregg Harlan, swaying in\nthe doorway of his cabin, steadied himself while the silvery harmony\nstole into his clouded senses.\n\"Strange--strange,\" he muttered, \"a violin--playing like that--in\nKatleean.  Dreams--more--dreams--\"  He stumbled into the room and the\nweeping Indian girl guided his footsteps to the narrow bunk in the\ncorner.\nIn the after-sunset light that precedes the long Alaskan twilight there\nis some rare quality that seems to bring nearer objects on the water.\nKayak Bill in the doorway, took another long look through the glasses,\nthen stepped down to the White Chief's side.  His voice was the first\nto break the enchanted silence that followed the strains of the violin.\n\"That wind-jammer's the _Hoonah_ I been a-tellin' you of, Chief,\" he\ndrawled, holding out the binoculars.  \"There's two women aboard o' her,\ninstead o' one.  'Pears to me like one o' them's purty young, and it's\nher that's standin' in the stern a-playin' o' the fiddle.\"\n[1] Corruption of the French _marchez_, _marche_, which the Canadian\n_coureurs du bois_ used to shout to their dogs, meaning to go forward,\nadvance.\nCHAPTER III\nTHE LITTLE SQUAW WITH WHITE FEET\nThe morning after the arrival of the schooner, Gregg Harlan woke with\nan aching head and trembling limbs.  As he sat on the edge of his bunk\nholding his fingers against his throbbing temples, he made a mental vow\nthat he would drink no more of Kayak Bill's liquor; that _today_ he\nwould settle down to the business that had brought him to Katleean.  He\nhad made the same vow every morning since his landing--made it\nearnestly, intending to keep it, but there was something in the air of\nthe trading-post that made irresistible the reckless camaraderie\nengendered by the hootch-cup; something that emphasized that very\nquality of gay irresponsibility he had come North to lose.\nThe stale, close air of his little cabin sent waves of nausea through\nhim.  Hatless and coatless he sought the open air.  He turned his steps\ninstinctively toward the point beyond the Indian Village.  On the other\nside, screened from sight of the post, he was accustomed to take the\ndaily plunge in the bay that enabled him to throw off the immediate\neffects of his hard drinking.\nAs he stumbled along, his lack-lustre eyes rested but a moment on the\nschooner in the bay.  He had not been long enough away from the world\nto be other than faintly interested in the arrival, and his\nrecollections of the night before were nil.\nThe tide was low.  The fresh, keen scent of seaweed came up from the\nPoint refreshing his sickened senses.  Noisy gulls wheeled and tilted\nover the brown, kelp-covered rocks and on the ridge back of the Indian\ngraveyard, ravens answered the gull cries with raucous soliloquies.\nHe was nearing the Point when his eye was attracted by a splash of\nwhite among the boulders.  Something peculiar in its outline drew his\ninquiring steps.  At the sound of crunching gravel under his feet a\ngreat huskie dog rose almost from under him.  The young man sprang\naside with a startled exclamation.  Against the wet sand the dog's dark\ncoat had been practically invisible.\n\"Heavens, Kobuk, old boy!  I thought I was seeing things!\"\nHe passed a damp hand over his brow.  The dog, strangely\nundemonstrative, advanced and placed a sleek head against Gregg's knee,\nits pointed muzzle down, its tail hanging dispiritedly.  Vaguely\nwondering what the trader's favorite lead-dog was doing among the\nboulders on the Point, Harlan patted the animal's broad back and turned\nto the object that had attracted his attention.\nWhat he had at first taken to be seaweed was a mass of long dark hair.\nBeneath it a damp, clinging cream-colored garment outlined the dead\nbody of an Indian girl.\n\"God!\" came Gregg's awed whisper, as he bent above the pitiful little\nheap.  \"The White Chief's Naleenah! . . .  Poor little devil!\"\nSteadied by the tragedy he did not understand, he stooped and gathered\nup the still form.  He started back to the trader's quarters, little\ndreaming that the last earthly act performed by those small hands now\nso still, had been for himself.  But if Kobuk, following close at his\nheels, could have spoken, he would have told of the manner of her\ngoing, the night before.\nThe trading-post of Katleean had lain wrapped in moonlight and slumber\nwhen Naleenah, after obeying her master's instructions to the extent of\nmaking the drunken young white man comfortable, crept from the doorway\nof Harlan's cabin.  Kobuk, waiting outside for the mistress who had fed\nhim since puppy days, pressed closely to her side as she crossed the\ncourtyard.\nAt the beachline, where silvered rice-grass grew tall among the piles\nof whitened driftwood, she paused, looking with wistful eyes toward the\nIndian Village cuddled in the crescent curve of the beach.  The weird,\nghostly totems of her people rose above the roofs, catching the\nmoonbeams fearfully on their mystic carvings.  Stern and forbidding\nthey seemed, as if guarding the quiet shelters at their feet against\none who had forsaken them for the more luxurious cabins of the white\nman. . . .  Slowly she turned from the tribal emblems of her clan to\nlook back at the log trading-post, dim and softly grey and splashed\nwith shadows. . . .  So still she stood and so long, that the dog grew\nrestless and rubbed his cold nose against her hand.  She sighed, a\ntired, quivering sigh like that of a child who has been hurt, and with\nbowed head, stumbled along the trail that led down to the water.\nOver a dark line of hills glowed the glorious red-gold orb of\n_Sha-hee-yi_, The-Moon-When-All-Things-Make-Their-Winter-Homes.\nUnbelievably large and round and clear it stood out against the\nnight-blue, throwing a path of shimmering gold across the bay to her\nlittle feet.  With eyes raised to its splendor, she waded out slowly,\nsteadily, into the moonlit, whispering waves. . . .\nAt the edge of the beach Kobuk settled on his haunches, watching her\nwith questioning, side-turned head.  He whined uneasily.\nThe scarlet shawl slipped from her shoulders and floated off behind\nher. . . .  The water crept above her waist . . .  her shoulders.  Her\nwide-eyed, frightened face caught the light. . . .  Then the ripples\nclosed above her head.  A moment later her long hair, loosed from its\nbraids, swayed on the amber-lighted surface like seaweed, then the\nmoonpath lay quiet as before.\nOn the shore Kobuk waited, his slant eyes blinking at the moon.\nOccasionally he raised his pointed nose and uttered a muffled whine\nthat ended in a short, querulous yelp. . . .  Hours passed. . . .  The\ntide began to ebb, leaving a dark line of sand at the edge of the\nwater. . . .  After a long while Kobuk went in search of his mistress,\nand having found her, watched beside her until Harlan came and bore her\naway.\nAs the young man ascended the steps to the store platform he was dimly\naware of encountering a tall, dark stranger, who afterward proved to be\nthe owner of the schooner that had come in the evening before.  Shane\nBoreland, whose figure was blocking the doorway, stepped aside to let\nGregg pass into the building with his burden.\nFrom about the stove, where several men were already gathered, came low\nexclamations, and the White Chief, who had been following Boreland to\nthe door, stopped suddenly at the sight of Harlan.  His face went as\ncold and emotionless as that of the dead girl.\n\"Take her in to Decitan,\" he said shortly, with a gesture toward his\nquarters back of the store.  Turning on his heel, he walked out to the\nplatform where Boreland stood waiting.\n\"A damned sad ending to their little domestic difficulty,\" he murmured\nsoftly, as befitted one with a large heart and a kindly understanding\nof the follies of youth.  \"But young Harlan, my bookkeeper, hasn't been\nlong enough in the North to appreciate the intensity of these little\nhot-blooded savages.  I told him, when he took Naleenah, . . .\"  The\nChief, as if he had said too much, let his sentence trail off into\nsilence.  He shook his head in apparent sorrow, but his eyes were fixed\non the schooner that rode at anchor in the bay.\n\"But don't let this incident mar your arrival, Boreland,\" Paul Kilbuck\nwent on, and then, with the frontier heartiness he knew so well how to\nassume, he set about tendering Boreland the hospitality of the post,\nurging the prospector to bring his family ashore for a visit during the\ntime of the coming Potlatch.  This was a festival, he assured the\nmaster of the _Hoonah_, which could not fail to interest Mrs. Boreland\nand her younger sister.\nEven as the trader planned for the reception of the white women, the\nsquaws who had borne him children were preparing the body of little\nNaleenah for its resting place below the ridge where the grave-houses\nand totems of the Thlinget dead huddled among the wild celery bushes.\nQuietly that night, just before moon-set she was laid away so that her\nfuneral might cast no sadness on the coming visitors.  On the grave,\nthe silent women of the household placed the treasures that had been\ndear to the heart of the White Chief's favorite: a string of cheap\nbeads, a scarlet shawl, gaudy painted cup and two dead pigeons,\nprogenitors of the flock that now cooed and fluttered in and out of the\nhigh wire enclosure back of the store.\nA week later on the ridge above the new-made grave of Naleenah, a white\ngirl stood talking to a small boy by her side.  Above the\namber-freckled nose of the youngster wide grey eyes were raised in\neager coaxing to her face.  From the crown of his bare head, a lock of\ndark red hair trembling with absurd earnestness stood up from the mass\nof its fellows.\n\"Oh, Je-an!  _Don't_ put on your shoes and stockings just yet!  Let's\nhave one more story before we go back to the post.  P-l-e-a-s-e, Auntie\nJean!\"\nJean Wiley dropped to the ground a bundle made of her discarded\nfootwear.  Earlier in the afternoon her nephew's barefoot enjoyment of\nthe beach sand had enticed her to remove her own shoes and stockings,\nand delighting in the feel of the cool earth against her pink soles,\nshe had not replaced them when they decided to follow the trail to the\nridge.  She tossed her head, and even in the sunless afternoon, the\ndark mass of hair that tumbled down her back seemed shot through with\nglints of copper.\n\"_I_ wouldn't mind going without them always, Loll,\" she said, holding\nout a slim foot and contemplating the freedom of her five, wriggling,\nperfect toes.  \"But--\" the foot took its place beside its stationary\ntwin, \"you see, little man, it isn't done at my age, even in Katleean.\"\nHer long-lashed hazel eyes, full of the dreams of eighteen happy years,\nlaughed down at the boy, and her slender fingers, that could coax such\ntender harmonies from the strings of a violin, busied themselves with\nthe ribbon that bound the hair at the back of her neck.\nIt was one of the lavender dream-days peculiar to the late summer of\nthe North.  Faint wisps of colorful mist clung to the pickets of the\nsmall fences in the Indian burial-place below them.  The totems and the\nwindows of the tiny grave-houses were filmed with it, and through the\ndim glass appeared vague glimpses of the kettles, blankets and\nprovision inside the houses of the dead--material comforts which the\nThlinget Indians provide for the departed soul's journey over the\nSpirit Trail to the Ghost's Home.  On the quiet bay below, the\n_Hoonah_, blurred in mist, tugged gently at her anchor.  Some hundred\nyards to the left smoke from the trading-post rose above the alder\ntrees.\n\"This is a dandy place for story-telling, Jean.  See!\"  Little Laurence\nBoreland pointed to the dim-limned schooner.  \"The _Hoonah_ looks like\na ghost-ship out there.  Listen!  I'll tell you the story Kayak Bill\nscared me most to death with last night.  Ugh!  It's spooky, Jean!\"\nThe boy's eyes were round and his voice had lowered at the remembered\nthrills of terror.  He tugged at the girl's short skirt, until she sat\ndown beside him, tucking her slim bare feet beneath her as she prepared\nto listen.\nA raven, weird epitome of Thlinget myth and legend, croaked\nspasmodically from the white branch of a dead spruce behind them.  The\ndamp air had in it the freshness of new-cut hemlock boughs, a wild,\nvigorous fragrance that stirs the imagination with strange, illusive\npromises of the wilderness.\n\"And the door of the dead-house slowly opened,\" Loll ended his tale,\npointing to the graveyard below for local color, \"and the door\ns-l-o-w-l-y opened and a long, white finger--a _bony_ finger,\nbeckoned----\"\nHe broke off with a gasp of astonishment and terror, for above the rank\ngrowth of Indian celery in front of the lonely grave-house door, there\nwas a sudden, unmistakable flutter of white.  So thoroughly had the\nlittle fellow lost himself in the weird mysteries of his own creating\nthat panic took possession of him, and communicated itself to the girl\nbeside him.  They sprang to their feet, and with one accord raced\ntoward the trading-post.\nNear the courtyard their footsteps slackened, and Jean began to recover\nherself, reminded of her shoes and stockings left behind on the knoll.\nShe became suddenly ashamed of her headlong flight, precipitated, as\nshe now saw, by the first breath of afternoon breeze as it came in from\nthe sea and fluttered a piece of weather-bleached canvas nailed over\nthe grave-house door.\n\"Goodness, Loll, you frightened me nearly to death with your wild\nimaginings!\" She laughed.  \"Let's run back now and get our shoes and\nstockings.\"\nThe youngster laid a detaining hand on her arm.  \"But, Jean,\" his\nshrill voice trembled, \"didn't you see it--the long, white skeleton\nfinger?\"\n\"Nonsense!\"  She stood a moment pointing out the reason for the flutter\nof white, and as she did so a group of Indians landing from canoes on\nthe beach, came up the trail toward the post.  Curiously and quickly\nthey gathered about the strangers.  Many of them had never before seen\na white girl or boy, specimens of the strange Letquoan, the Snow People\nfrom that far-away land of the White Chief.  Solemn, black-eyed little\ntoddlers peered cautiously out from under their mother's shawls.\nPretty young squaws with dark handkerchiefs over their heavy hair,\njostled one another to get a better view, and at the sight of the white\ngirl, the young buck gallants of the tribe straightened their shoulders\nand shifted their rifles to a jauntier angle.\nIn low, throaty tones, punctuated with long-drawn \"Ah-a-a's\" and\noccasional explosions of laughter, they talked among themselves,\npressing closer each moment.  From time to time a brown finger pointing\nat Jean's bare feet evoked a general shaking of dark heads and more\n\"Ah-a-a's\" of wonderment.\nPerhaps because of the apprehension in her heart, Jean held her head\nhigh and looked fearlessly into the brown, apparently menacing faces\nabout her.  She glanced out over the dark heads hoping to see some\nmember of her own race; but the post, for the moment, seemed deserted\nby the whites.  She reached for her nephew's small hand and held it\ntightly.\nAmong the Indians the talking ceased suddenly.  A sense of expectation\nemanated from the group.  There was a shifting of positions as a tall\nThlinget, whom Jean had heard the White Chief call Swimming Wolf,\nstepped toward her, his red-bordered snowy blanket trailing\nmajestically from his shoulders.  He stopped, bent his stately form,\nand looked long and earnestly at her bare feet.  Before the girl knew\nwhat he was about he had wetted his finger in his mouth, rubbed it\nalong her foot, and scrutinized it gravely.  He glanced up, his teeth\nflashing at her in a pleased smile.\n\"Ugh!  Ugh!\" he marveled in his best English.  \"Little squaw with white\nfeet!\"\nThe smile ended in an involuntary grunt, for Loll with the fire of\nwrath in his eye had leaped at the investigator and with all the\nstrength of his eight years had planted both fists in the stomach of\nthe unprepared Indian.\n\"_She's_ not a squaw!\" shouted the outraged little fellow, making ready\nfor another attack.\nAt the same moment Jean, her face burning and her hazel eyes two points\nof fire, landed a stinging blow on the surprised Swimming Wolf's ear.\nStraightening himself, he side-stepped, flinging his white blanket over\nhis shoulder with a sheepish grin.\n\"Fierce little squaw with white feet!\" he chuckled, admiringly.\nWith loud laughs of amusement the others backed away.  The circle\nbroken, the indignant Jean caught at the hand of her small protector\nand fled away in the direction of the store.\nAngry with herself and thoroughly mortified by what she considered the\ninsulting familiarity of the Indian, she ran heedlessly.  She rounded\nthe corner of one of the little courtyard cabins with reckless haste\nand before she could check herself, had collided smartly with the\ndejected figure of a young man.  The impact sent her staggering\nbackward, but at the stammered words of apology which accompanied the\nsteadying hands he reached toward her, she looked at him with angry\nscorn.\n\"It's a pity you white men are never around when you're needed!\" she\nstormed at his surprised face.  \"But squaw-men, I suppose, are always\nbusy--driving their wives to suicide!\"  She flung the last words at him\nand fled across the courtyard.  At the moment she was out of patience\nwith the entire population of Katleean.  As she disappeared into the\nstore with Loll, she left Gregg Harlan gazing after her perplexedly,\nwondering at her last sentence.  It was his first actual meeting with\neither of the white women from the _Hoonah_.  Because of their advent\nin Katleean he had remained sober for several days, but for some reason\nhe did not understand he had not yet been given an opportunity to meet\nthese women from his own world.  He turned from his contemplation of\nthe empty doorway and walked back to his own cabin, his head bowed in\nthought.\nCHAPTER IV\nBAIT\nWhile Jean and Loll were pursuing their adventures about the post the\nWhite Chief was entertaining his other two guests in his low-ceilinged\nliving-room, dusky and pleasantly scented from logs of yellow cedar\nburning in the fireplace.  He was posed in his favorite attitude,\nhalf-sitting, half-reclining among the cushions on a low couch of red\nfox skins.  But while he told tales of the country to the interested\nBoreland, his narrow eyes watched the play of the firelight on the\nsoftly-massed golden-brown hair of Ellen, Boreland's wife, who sat\nknitting in the glow.\nLife, for the trader, had taken on a new zest this past week.  Long\nyears of acting a part--the part of a great white chief, mysterious,\nall knowing, all powerful in the eyes of the simple natives of the\nNorth, had made him fully alive to the dramatic possibilities of\nplaying host at Katleean, and he was not unaware of his own\nsemi-barbaric attractiveness in these surroundings.\nIt had been easy to induce Shane Boreland, for the sake of his wife and\nyoung sister-in-law, to spend a few weeks in the quarters back of the\nstore, where they were ministered to by the silent, dark-eyed women\nwhose status they did not understand.\nThe trader's heart was stirred with interest and expectancy.  Here at\nlast was an auditor worthy of his best efforts--a white woman, not too\nyoung, fair-faced and gentle, yet with the courage to follow her man\ninto the wilds of a new country.  A woman, who, he had learned, could\nunfailingly put a shot in a bull's eye at twenty paces and handle an\noar in a small boat, yet a woman who could look sweetly domestic as she\nknitted on a garment for her small son.  To Paul Kilbuck, as to all\ndomineering men who scoff at matrimony, there was something\nirresistibly appealing in the \"sweetly domestic\" woman, something\nsuggestive of that oldest occupation of woman--the business of\nministering to man's physical and temperamental needs, the duty of\nmaking his body and his egotism comfortable.  He watched her in covert\napproval.\nHow soft and white her throat appeared above the open neck of her\nblouse--soft and white with a tiny hollow at the base where a man might\nleave kisses--or the print of his teeth.  What little hands she had,\nwhite with nails of rosy pink.  Little white hands!  The words kept\nsinging through his consciousness.  So long had brown hands done his\nbidding up here in the North that he had nearly forgotten that a\nwoman's skin could be so white!  To have those little white hands just\nonce, softly feeling, caressing, losing themselves in the blackness of\nhis beard----\nThe White Chief sat bolt upright to shake off the mad-sweet pang that\nhad thrilled him.  The voice of Boreland brought him back from the land\nof forbidden thought.\n\"You say this Lost Island is nothing but a myth, Kilbuck?\"  The\nprospector had evidently been thinking of the White Chief's last story\nas he sat rubbing the head of Kobuk, the huskie, who had placed his\nmuzzle on Boreland's knee.\nThe trader lighted and tossed away a cigarette before he answered.\n\"Just how much truth there is in the tale of the Lost Island I can't\nsay, Boreland,\" he said slowly, with a care to his English.  He shifted\nhis position until his eyes could no longer rest on the white woman in\nthe fireglow.  \"It has come down from the days of the Russian\noccupation of the Aleutian Islands far to the west'ard.  Our Thlingets,\nyou know, got it from the natives of that section and the story runs\nthat an Aleut and his wife were banished from their village for some\ncrime, set adrift in a bidarka, a skin boat.  Instead of perishing, as\ntheir kinsmen intended, the pair turned up a year later with a tale of\na marvelous island many days' paddling to the eastward.  On this\nisland, they said, the sun shone warmer and the flowers grew larger and\nthe snowfall was lighter than anywhere else in their world; and there\nwas some queer story, I don't remember the details exactly, about an\nunderground passage and sands flecked with shining metal, the stuff\nthat trimmed up the holy pictures the Russian priests brought over from\nRussia.\"\n\"Gold!\" interrupted Boreland.  \"It must have been gold!\"  His brown\neyes glowed and the White Chief noted that an eager alertness lighted\nhis lean tanned face.\n\"The exiles decided to let a few of their friends in on the island\nproposition and set out at the head of several bidarkas.  According to\nthe story they knocked about up and down the North Pacific from Kodiak\nto Sitka for several months--but they never found their island.\nNeither did the natives of later years who went in search of it from\ntime to time.\"\n\"But the Russians, Kilbuck, didn't they ever try to find the place?\"\nThe trader, pleased at the interest his story had aroused, lay back\nonce more against his cushions.  \"Possibly they did,\" he went on\neasily.  \"But it's likely they were satisfied with the wealth of furs\ntheir Aleut hunters brought them.  Those were great old days for\ntraffic in furs.  The early Russians were, for the most part a lazy,\nrum-drinking lot, you know.  To them riches meant sea-otter skins, and\nthey managed by various devilish methods--I can't say more about them\nin your presence, Mrs. Boreland--to enslave the entire Aleut nation to\ndo their hunting.  They gave them a little--and a mighty little--trade\ngoods in return.\"  By the inflections of his voice the agent of the\nAlaska Fur and Trading Company sought to convey to his listeners the\nimpression that the policy of those early companies was against _his_\nprinciples, though the books, so carefully kept by Add-'em-up Sam might\nhave told a different story.\n\"And it's possible the Russians thought the yarn to be merely another\nnative fairy tale,\" continued Kilbuck, waving a careless hand.  \"As I\nsaid there may be no other foundation for it.  It has come down now for\nover two hundred years, and you may be sure when an Indian tells a\nstory it loses nothing in the telling.\"\nThe drowsy crackle of the flaming logs filled a short interval.\nShane Boreland sat lost in meditation, his hand resting quietly on the\ndog's head, his eyes adream as with visions of the golden sands of the\nLost Island.\nHis wife glanced up at him, uneasily, almost apprehensively it seemed\nto Kilbuck who was again watching her.  Never in all his varied amorous\nexperiences had a woman's eyes held such a look for the White Chief--a\nlook in which there was a protecting tenderness, comradeship and\nsomething more.\nHe settled farther back in his cushions, his eyes narrowing.  Love had\nyet some new delight to offer him. . . .  His virile years were\nslipping by--he was surprised and disturbed how often this thought had\nbeen with him of late.  Should he grasp the opportunity offered?  There\nmight be a way--up here in Katleean where his word was law. . . .\nPerhaps----\nKilbuck brought himself up with a start.  Ellen Boreland had dropped\nher knitting and had crossed to her husband's chair.  Her hand rested\non his broad shoulder and there was a wistful little twist to her smile\nas she shook him gently to rouse him.\n\"He's forever dreaming of the gold that lies beyond the skyline--this\nman of mine--and always going to find it,\" she said fondly.  \"So\nplease, Mr. Kilbuck, don't get him interested in any mythical island.\nWe've been gone from the States six months now, and I want him to go\nback for the winter.\"  There was a half-playful, half-earnest note of\npleading in her voice, but the White Chief noticed that her eyes did\nnot fully meet his.\nDuring all her thirty years, doubtless, Ellen Boreland had looked a\nfriendly world in the eye.  She was that sort.  He saw that she was\ntroubled now at not being able to do this in the case of the trader of\nKatleean.  Probably he himself was not attractive to her--perhaps he\nwas even fascinatingly repellant with that electric and disturbing and\npromising quality that drew almost irresistibly.  There were women who,\nunder that impulsion, had been moved to come close and gaze into his\npale, black-lashed eyes.  It was an impulse akin to that which urges\npeople to fling themselves from great heights; to peer into abandoned,\nstagnant wells. . . .  He had an idea that she knew he saw this, for he\nhad watched her face flush under his glance as though at the thought of\nhaving dishonored herself by sharing with him some guilty secret.  He\nsaw that she was uncomfortable in accepting his hospitality.  Twice\nduring their stay she had entreated her husband to leave Katleean, or\nat least go back aboard the schooner for the remainder of their visit.\nBut Shane Boreland, clean-hearted adventurer, to whom the vagaries of a\nwoman's mind were a closed book, had only laughed at her request,\nretorting that life aboard the _Hoonah_ had made her into a little\nsea-dog and a few weeks ashore with such a host as the White Chief\nwould do her a world of good.\nThe host now lighted one of his short-lived cigarettes.  In his mind\nwas forming a plan suggested by Ellen Foreland's words.  He might\ndevelop it later, and again he might not, but it would not be amiss to\nprepare the way.\nHe tossed his cigarette into the fireplace, slipping without effort\ninto the part he had assigned himself.\n\"Dreams are the things that make life worth living, Mrs. Boreland.\"\nHis low, vibrant tones sounded pleasantly in the dusky room.  \"Boreland\nhere has his dreams of a mine of gold, but I--\" he hesitated, his voice\ntaking on a whimsical softness, \"but I, in my Northern solitude, have\nmy dreams of a heart of gold.\"  His look was designed to leave no doubt\nin Ellen Boreland's mind that it was a feminine heart of gold that he\nsought.\nThere was a pause during which the charred logs in the fireplace\ndropped down sending up a brighter flame.\n\"But you mustn't be too sure that the Lost Island is a myth.\" He spoke\nbriskly now as it putting aside deliberately his own longings.  \"In\nthis part of the country some say that the Lost Island is that of Kon\nKlayu.\"\nAs Boreland looked up questioningly the White Chief went on:\n\"Of course, it does in some ways answer the description.  It is ninety\nmiles off the coast here.  Cape Katleean is the nearest land.  The\nJapan current gives it a milder climate and we know that the beach sand\ncarries gold--a little gold.\"\n\"Anyone living there?\" interrupted Boreland eagerly.\n\"Not a soul.  The Alaska Fur and Trading Company did send a party out\nthere some years ago, to start a fox-farm.  That's how I got my\ninformation.  They were a hootch-drinking, lazy lot and the farm wasn't\na success.  But Add-'em-up Sam, a bookkeeper I used to have, spent a\nwinter there.  He told me many things about the place.\"  The White\nChief paused a moment.  A new idea had just come to him.  \"Silvertip,\nwho used to be on the whaler _Sophie Sutherland_, has stopped there for\nwater, too.\"\nBoreland, rising from his chair thrust both hands into his pockets and\nbegan to pace up and down the room.\n\"By thunder, Kilbuck, I'm interested in that island, whether it's the\nLost Island or not!  Kon Klayu . . .  Kon Klayu . . .\"  He repeated the\nname thoughtfully.  \"Seems to me that's the Thlinget for ruby sand,\nwhich in itself suggests possibilities.  Ruby sand is a gold carrier!\"\nThere was a note of enthusiasm in Boreland's voice, but as he noticed\nthe look on his wife's face he crossed to her side and put an arm over\nher slender shoulders.  \"But we'll talk that over some other time,\nChief.  I don't want to bore Ellen with too much mining----\"\nA flinging open of the door that led to the store cut short his speech\nas an indignant little boy burst in on them.\n\"Mother!  Mother!\" he shouted.  \"That big old Indian, Swimming Wolf,\ncalled my Auntie Jean a squaw!\"\n\"And the wretch put his hand on my foot, Ellen!\"  Jean following close\non the heels of her nephew, stopped before her sister, her slim hands\nclenched at her sides, each outraged shake of her head loosening the\nribbon that bound her hair.  \"I hate this place, Shane!\" she cried,\nturning swiftly to her brother-in-law.  \"I wish we were all back aboard\nthe _Hoonah_!\"  Her voice trembled with unshed tears of mortification,\nand both her sister and Shane started toward her with exclamations of\nsympathy and alarm.\nThe White Chief regarded the attractively disheveled little figure with\nappreciation, but he realized that something had happened which\nendangered the stay of his visitors.  He rose to place a chair for her.\nWhen he spoke his voice, the voice that had charmed many women, soothed\nwhile it promised.\n\"There now, Miss Wiley, things may not be so bad as you think.  Sit\ndown and tell me all about it and I'll see what can be done.\"\nDisregarding the proffered chair, the girl launched forth with the\nstory of her encounter with Swimming Wolf.  Her slim hands gestured.\nAbove her flushed cheeks her eyes flashed and the unruly cloud of hair,\nfreed at last from its ribbon, fell about her shoulders.\nAs she told of the slap on Swimming Wolf's ear, the pale eyes of the\nWhite Chief glowed.  Truly, as Kayak Bill had said, one could never\ntell about a white woman.  Here was a situation he would have to handle\nwith care.  Here was a time when his knowledge of Indian nature, gained\nduring years of association with them, stood him in good stead.\n\"Miss Jean,\" he said.  \"Just a moment.  I think I can explain Swimming\nWolf's extraordinary action.\"  The White Chief measured her with an air\nof understanding that, he could see, made an impression on the girl in\nspite of herself.  \"An Indian, you know, never really grows up.  Even\nthough he has the body of a man, he still keeps the heart of a child.\nNow when you were little, Miss Jean, don't you remember the time you\nsaw your first negro--a black, strange creature?  Didn't you wonder,\nwhile you looked at his face and his hands if he could possibly be\nblack all over?  Be honest now, didn't you?\"\nLoll who had settled himself on the floor with an arm about Kobuk's\nneck, sprang up and stood beside his aunt.\n\"Yes, _I_ did, Chief,\" he interrupted, with eager, nodding head, \"and I\nasked him about it, too.  I did!\"\nJean's face was clearing.  She inclined her head in faint affirmation.\n\"Just so,\" the trader went on.  \"When Swimming Wolf saw his first white\nwoman no doubt in his simple heart he wondered, too, and so did the\nother natives who gathered about you,--children, all of them.  Swimming\nWolf, the clumsy siwash, had no English words to ask you about it, so\nhe took the simplest way to find out whether or not the white came off!\"\nA shadowy smile began to twitch at the corners of Jean's mouth.  Seeing\nit, the White Chief was encouraged to go on:\n\"The inquisitive rascal is really one of our bravest hunters, and a man\nof tall totems and many blankets.  He would feel astonished and\n_kusk-i-a-tu_--very sad--if he knew he had offended you.  As a matter\nof fact,\"--the trader laughed--\"the Wolf admires you and in his\nprimitive way has paid you a great compliment.  I wasn't going to\nmention it, but since this has come up perhaps it will help explain.\"\nJean looked up inquiringly.\n\"Up here in the North, Miss Jean, it is the custom of the young bucks\nto buy any little girl who takes his fancy.  He pays for her while he\nis strong and a good hunter, you see.  When the girl grows up he takes\nher for his wife.\"\nThere was a gasp of astonishment from Ellen and her sister, but Kilbuck\nwent on:\n\"One hundred dollars is a mighty good price to pay for a wife,\nbut Swimming Wolf, my little lady, came to me yesterday with\nfour black fox skins, which are worth perhaps three thousand\ndollars.  He wanted to know if I would arrange with the Big White\nMan--your brother-in-law--to take them in payment for the _shawut\nclate_, the White-Girl-Who-Makes-Singing-Birds-in-the-Little-Brown-Box.\"\nJean lifted her chin with a laugh in which amusement and embarrassment\nwere equally mingled.  \"How quaintly ridiculous, Ellen, to describe my\nviolin playing in such a way!  But mercy,\" she added, after they had\nall laughed over the incident, \"I must run away upstairs and put on\nsome footwear.  If I had kept on my shoes and stockings, as I should\nhave done, Swimming Wolf might not have called me 'little squaw with\nwhite feet'!\"\nKilbuck, satisfied with himself, had settled back once more against his\ncushions and as she turned to say a parting word to him, was regarding\nher with half-closed eyes.  The firelight played on her slim, white\nankles and soft little feet.  He surveyed her with a look that slowly,\nappraisingly, stripped her body of its garments and swept her from her\nbare feet to her face and back again.  The girl caught it.  Conscious,\nfor the first time of him--his savage reality as other than a\nmiddle-aged man--of her own womanhood, she flushed violently.\nShrinking back she reached for Loll's hand, and stammering an\nincoherent excuse, ran from the room.\nEllen, unconscious of what had happened, measured off a row of stitches\nin the knitting she had again taken up.  \"Jean certainly seems to be\ntumbling in and out of adventures,\" she remarked.  \"Sometimes, Shane, I\nwonder if we did right in bringing her with us.\"\n\"Nonsense, Ellen.  A year up here will make a different girl of\nher--help her break away from the cut and dried sameness of school\nlife.  Darned if it doesn't make me tired to see all the young women\nturned out of the same mould.\"\nAs Boreland spoke the door leading into the store opened slowly, and\ninto the room sauntered Kayak Bill.  He seated himself in silence,\ntilting his sombrero to the back of his head--the only concession to\nconvention he ever made, since Kayak had never been known to remove\nthat article of apparel until he sought his bunk at night.\n\"I just been mouchin' round down in the Village, Chief,\" he drawled,\n\"seein' if there was anything a-doin' in the way o' local sin, and they\ntells me that the funeral canoes is a-comin' in tonight.\"\nCHAPTER V\nTHE FUNERAL CANOES\nEllen glanced up at the old hootch-maker sitting serenely on the other\nside of the fireplace.  Some time during the day he had put on high\nleather boots but having neglected to lace them, the bellows-tongued\ntops stood away from his sturdy legs and the raw-hide laces squirmed\nabout his feet like live things.\n\"The funeral canoes?\" she echoed, wonderingly.\nKayak Bill turned to her with a sort of slow eagerness, as if he had\nbeen awaiting an excuse to look at her.\n\"Yas, Lady.  They're a-bringin' in the ashes o' their dead kin from up\nin the Valley of the Kag-wan-tan.\"\nEllen's mind reverted to the many strange things she had heard during\nher short stay in Katleean, concerning the coming Potlatch of the\nIndians.  This land and its people were new and mysterious to her.\nThese primitive Thlingets, descendants of the fiercest and most\nintelligent of all the northern tribes were, withal, a fearful people\nliving in a world of powerful and malignant spirits who frowned from\nthe rocks, glittered from the cold, white mountains and glaciers,\nwhispered in the trees and cackled derisively from the campfires; a\nworld of hostile eyes spying upon them in the hope that some of their\nweird and mystic tabus might be broken, and of sly ears listening to\navenge some careless remark.  A childlike people they were, who spoke\nkindly to the winds and offered bits of fish for its favor; who begged\nthe capricious sea to give them food, and who spent most of their lives\nworking for the comfort of the dead--the Restless Ones--who sweep the\nwinter skies when the day is done, beckoning, whispering.  The Northern\nLights the white man calls them, as they leap and play above the frozen\npeaks, but the Thlinget knows them to be the spirits of the dead,\nhomeless in space but hovering confidently overhead until their\nrelatives on earth can give a Potlatch for their repose.\nRunning like a black thread through the woof of the spirit tales was\nthe mention of witch-craft--witchcraft with which Kilbuck was now\npreparing to deal; not because he hoped to benefit the natives and free\nthem from the curse of superstition, but because owing to a belief in\nthe black art, the Indians of Katleean were not bringing in the amount\nof furs expected, and this meant a loss of money to the Alaska Fur and\nTrading Company.\nEllen recalled the superior air of amusement with which the White Chief\nhad told of the dominating belief in demons.\n\"When one of the beggars wants to cast a spell,\" he had said, his lip\ncurling in a sardonic smile, \"he takes a bit of cloth from some garment\nhis enemy has worn and at the hour of midnight slinks into a graveyard\nand digs down until he finds a body.  If he wants to cripple his\nenemy's hand, he puts the cloth in the fingers of the corpse.  If he\nwishes his enemy to lose his mind he puts it over the skull, and if he\nwants him dead, he places the cloth over the heart in the coffin.  Oh,\nthey are a sweet outfit, I tell you!\"  The Chief had laughed as if\nthese things were merely amusing.  Then he had gone on to explain that\nacross the Bay of Katleean in the shadow of the great blue glacier\nwhich was discernible on sunny days, there had been a lonely Thlinget\ngraveyard.  Because of its isolation this burial place had been so\nriddled with re-opened graves and so much killing, torturing and\nfighting had ensued among the Indians in their efforts to detect and\npunish so-called witches that he, their White Chief, had been obliged\nto interfere.  He had put an end to the reign of sorcery in that\nparticular graveyard rather cleverly, Ellen was forced to admit, by\nhaving all the bodies exhumed and cremated on the spot.\n\"They'll bring the ashes over here where I can keep an eye on them and\nprevent further 'witching,'\" the trader had finished.  \"And after the\nPotlatch we'll have a little peace in the country, I hope.  I never\ninterfere with the Potlatches.  They make good business for the\nCompany, for the brown heathens believe the spirits are really feasting\nand rejoicing with them.\"  Kilbuck laughed as at some recollection.\n\"The Company sends in hundreds of blankets every year for dead Indians.\nWhenever a Potlatch blanket is given away the name of a dead man is\ncalled and he receives it in the spirit world.  Whenever a little food\nis put on the Potlatch fire, a dead man's name is mentioned and he gets\na square meal up there in Ghost's Home.  Altogether the Alaska Fur and\nTrading Company does a lively business with the dead!\"\nAs Ellen thought on these things there crept into her mother-heart a\nfeeling of pity for these simple, trusting people seeking the\nprotection and guidance of this white man only to have their beliefs\nand superstitions laughed at and exploited for the benefit of his\ncompany.  She was beginning to feel, dimly, what every reader of the\nhistory of exploration knows, that drunkenness, fraud and trickery are\namong the first teachings the white man's civilization brings to the\ntribes of a new country.\nA tinge of sadness and foreboding darkened her thoughts.\nKayak Bill, who had been drawing contentedly on his corn-cob pipe, rose\nsuddenly through a low-hung cloud of tobacco smoke, and taking up an\nold almanac from the table, began fanning the air clumsily.  His slow\ndrawl with a suspicion of haste in it, broke in on her meditations:\n\"By hell, Lady,\" he apologized earnestly, \"excuse me for creatin' of\nsuch a blamed smudge!\"\nEllen looked up from her knitting.\n\"Oh, I don't mind a little smoke, Kayak Bill.\"  She smiled at the\nconcern in the old man's voice.  \"You see Shane smokes a good deal,\ntoo.\"  She nodded toward the couch where her husband puffed on his pipe\nas he plied Kilbuck with questions about the Island of Kon Klayu.  \"I\nwas just thinking about the funeral canoes and the Potlatch.\"\n\"The beginnin's of the Potlatch will be pulled off tomorrow, Lady, but\ntonight--\"  Kayak stopped fanning and leaned closer to her.  Then with\na glance in the direction of the White Chief he lowered his voice.\n\"Tonight, when the funeral canoes comes in, I'd aim to gather in the\nyoung sprout, Loll, and that little gal sister o' yourn. . . .  We're\npurty civilized here in Katleean, but--wall, there ain't no tellin'\nwhat an Injine will do after he's taken on a couple o' snorts o' white\nmule,--or a squaw-man, either, for that matter.  O' course, I make the\nstuff myself, and a mighty hard time I have, too, to keep shut o' these\npesky dudes o' revenue officers that's all the time a-devilin' o' me.\nBut I don't recommend it none a-tall.\"\nKayak Bill, with his boot-laces snaking along behind him, shuffled over\nto his chair once more and settled himself for conversation, which\nEllen had learned meant a monologue.  The edge of his sombrero backed\nhis busy head and kindly face like a soiled grey halo.  His low voice,\nnever rising, never falling, droned on:\n\"Yas, I don't drink none myself, bein' weaned, as you might say, when\nI'm but a yearlin'.  But I make it for those as likes it, and I makes\nit good, for it's everybody to his own cemetery, I say. . . .  No, I\ndon't join no Y. W. C. T. U. or nothin,' but one time, when I'm a real\nyoung feller, I'm off on the range for a spell down in Texas, and I\nain't no nature for shavin' or none o' them doo-dads and besides I'd\ndon't have no razor or no lookin' glass.  Wall, six months or so goes\nmillin' by and finally I comes down into San Antonio one Sataday night.\nAnd right away, havin' at that time what you might call an eddycated\ntaste for whisky, I makes a charge for the nearest bar and takes on a\ndozen or so good snifters, likewise some beverages they calls mint\njulips.  And durn me, Lady, if in no time everything in that place\nain't a-whizzin' past me like the mill-tails o' hell!\n\"But I gets my bearin's after while and lays my course for a door to\nget some fresh air.  Just as I reaches this here door, Lady, a big,\nswaggerin' rough-lookin' hombre with a red beard starts to come in.\nWall, I looks him over careful.  He likewise gives me a nasty look.\nThen polite-like, I steps aside waitin' for him to come through.  But\nhe don't come none, havin' stepped aside too. . . .  Wall, by this time\nI'm feelin' purty groggy and I makes a bolt for the door again, aimin'\nto get through quick; but blamed if that durned son-of-a-gun don't do\nidentical!  Then back I sashays once more and my dander sort o' riz up\nin me.  'By the roarin' Jasus,' I yells, 'you lay offen that monkey\nbusiness, you consarned whiskery cuss, or I'll fill you so full o'\nholes yore own mammy won't know you from a hunk o' cheese.  Just one\nmore crack like that out o' you,' I says, 'and down comes yore\nmeat-house,' I says. . . .  Wall, I got started through the door again,\nand by hell, Lady, in spite o' my warnin' o' him, he comes at me again.\nSo, . . .\"  Kayak Bill paused the fraction of a second; then his voice\nwent on with its accustomed languor: \"So I just whipped out my little\nold .45 and shot him.\"\nEllen gasped, her big blue eyes opening in horror as she looked into\nthe serene face of the self-confessed murderer.  Kayak Bill, apparently\nunconscious of her regard, droned on:\n\"Yas, I charged full tilt into him shootin' as I went, but instead o'\nhim a-fallin dead, I finds myself in a shower o' glass, and all the\nboys is a-dancin' round me and likin' to die o' laughin' at me. . . .\nYou see, Lady, that door happens to be one o' them long mirro's saloons\nhas, and not havin' no acquaintance with myself in a beard a-tall, I\npots my image!  Ha!  Ha!  Ha!\"  Kayak Bill's laugh gurgled out slowly\nlike mellow liquor from a wide-mouthed bottle.  \"Wall, after I got done\na-payin' for the mirro' and a-settin' 'em up for the boys, and a-payin'\nfor a saw bones to fix me up--me bein' conside-ble carved by glass, I\ndon't have no more money than a jack-rabbit.  So I says to myself:\n'Bill, you ol' jackass, you got to reform, that's all there are to it.\nWe can't have the whole durned world laughin' at you when yore in yore\nliquor!', I says. . . .  And I did reform, Lady!  So help me Hannah, I\ndid!\"  Kayak Bill, with an air of conscious virtue, was filling his\npipe again.\nWhile Ellen gathered up her knitting, the corners of her mouth were\ntwitching with amusement.\n\"Kayak Bill,\" she said as she shook her finger at him playfully, \"you\nsurely have an effective way of making a confession.  I don't really\nknow whether to praise you for your sobriety or scold you for\nhorrifying me a moment ago.\"\nEllen heard the old man's chuckle as she arose.  Her face went sober,\nhowever, the moment her eyes sought the couch where her husband sat\nstill engrossed with the White Chief.  Though she lingered Shane did\nnot turn her way, and she finally moved toward the door through which\nher sister had gone an hour earlier.\n\"Thank you for telling me about tonight, Kayak,\" she said as she passed\nhim.  \"I'm going up now to warn Jean and Loll, but--\" she hesitated, \"I\nwish more of the men in Katleean had been 'weaned' as you were.\"\nShe saw approval in the slow softening of his hazel eyes, and as the\ndoor closed behind her she caught a remark the old hootch-maker\naddressed to the dog at his feet.\n\"By hell, Kobuk,\" he pronounced earnestly, \"that little lady's husband\nhas sure fell into a bed of four leaf clovers!\"\nShe stored this quaint tribute away in her mind and told it to Jean\nthat evening after she had repeated for the second time Kayak's warning\nregarding the arrival of the funeral canoes.  But Jean, determined not\nto miss any detail of the strange Thlinget festival, watched till an\nopportunity presented itself, and then, disregarding Ellen's advice,\nslipped away to the beach to a pile of silvery drift-logs that lay at\nthe edge of the rice-grass, where she knew she could not be seen except\nfrom the sea.  The girl settled herself comfortably among the logs just\nas the long day was waning.\nShe noted that here, as everywhere else in this northern land of\nexquisite, fleeting summers, the sunset colors came on gradually,\nincreasing in richness of tone and fading through several hours.  The\nmist of the afternoon had scattered before a faint sea-wind, and\nsettled wraithlike in the hollows of the hills across the bay.  Violet\nnow in the gloaming it melted into the lilac shadows at the base of the\nrange that needled the sunset sky.\nThere was something like promise in the wild beauty of the\nevening-time; something in the clean night-scent of the sea and the\ngrass and the trampled beach-weed that awakened in Jean a sense of\nexpectancy.  She breathed deeply, conscious of a keen delight in doing\nso.  As she waited, the rose and amber tints died on the white peaks at\nthe head of the valley, . . . the flaming orange behind them turned\nfrom clear gold to vermilion, . . . from rose madder to an unearthly\nred that glowed behind a veil of amethyst while the twilight deepened.\nSuddenly she caught her breath.  Out of the powdery, purple gloom\nacross the bay floated a long line--the funeral canoes.  In the blurred\ndistance they took shape one by one, the paddles dipping in solemn\nrhythm. . . .  Nearer they came, . . . and nearer.  Then over the\ndarkening water drifted the plaintive rise and fall of the funeral\nlament, faint and eerie as voices from the spirit land.\nJean, thinking to linger but a moment before returning to the store,\nwas spellbound by the mystery and loneliness of the scene.  All at\nonce, as she watched, a line of silent, blanketed figures from\nsomewhere behind, began to slip down past her hiding place.  Looming\nweird and tall in the dusk they halted at the water's edge.  Softly,\nalmost imperceptibly these waiting ones took up the mournful plaint,\nsending it floating out thin and high in answer to the approaching\nbearers of the dead.\nWhile she listened awe and wonder began to give way to something that\ntantalized her with a fleeting familiarity--a near understanding.\nLong-lost memories of primeval things that eluded her when she strove\nto vision them mocked her with an indefinable yearning to pierce the\nages of oblivion that separated her from other nights, other scenes,\nother chants like these. . . .  She longed for her violin.  If she\ncould but feel the loved instrument beneath her chin, her fingers\ndrawing from its vibrant lower strings the mystery-music to supplement\nthe weird dirge, these primitive things hidden in the dust of the past\nmight be revealed to her!  Suddenly she became aware that one of the\ntall figures had stopped in the trail beside her pile of driftwood.  In\na tone singularly pleasing he was humming the air of the funeral\nlament, fitfully, experimentally at first, then as the haunting\nmonotony of the strain became familiar, with a certain easy confidence.\nJean forgot to be afraid.  Almost unconsciously she found herself\nhumming in unison with the motionless figure.  Even when the man faced\nher and she saw in the dim light, not an Indian, but the young white\nman, Gregg Harlan, she did not cease.  She was conscious of a feeling\nof companionship.  Night had gilded the wilderness with a primordial\nbeauty and made her kin to all earth's creatures.  She moved slowly\nfrom her pile of driftwood and stood beside him for a moment in the\ntrail watching the incoming canoes.  It was a moment of simplicity and\nunconsciousness of self such as might have been in the dawn of\ncivilization when conventions were unknown.  She hummed, cradling in\nher heart impressions of the night so that later she might awaken them\nthrough the music of her violin.  The man in the trail continued his\nwordless song. . . .\nThe crunching of leather soles on the gravel behind them startled Jean.\nShe and her companion turned simultaneously to find themselves face to\nface with the trader of Katleean.\n\"Well, well!\"  The sarcastic voice of the White Chief shattered the\nsweet, wild moment like an invidious thing.  \"You two seem to be\ngetting uncommonly friendly!\"  His red lip lifted on one side into a\ncynical smile that suddenly infuriated Jean, implying, as it did, that\nhe had caught the two young people in a compromising situation.  She\ntook a hasty step toward him, looking with fearless eyes into his face.\n\"How dare you slip up behind us this way!\" she flashed, stamping her\nfoot and flinging out her hands in a short, angry gesture.  A moment\nlonger she looked at him as if he were an object of scorn, then turning\nto the young man, said quietly: \"Good night, Mr. Harlan.\"\nThe next instant she was walking up the dusky trail to the post.\nKilbuck watched her go.  Accustomed to commanding all situations at\nKatleean, he was for the moment nonplused by the quickness and\nvehemence of the girl's retort, rather than by what she had said.  He\nhad expected to place the two at a disadvantage.  Finding the tables\nturned, a momentary and unreasoning desire to cover his own\ndiscomfiture by hurting some one took possession of him.\n\"I say, Gregg, I'm rather surprised to find you at this time of night,\nalone with Miss Wiley.  I don't think her sister would approve,\nexactly.  Since your affair with Naleenah, you know--\" he finished the\nsentence with a depreciatory shrug.\n\"_My_ affair with Naleenah!  What do you mean?\"  The young man took a\nquick step toward him.\n\"Oh, now, don't get excited, Gregg.  You were drunk, of course, but you\nmust remember she took you home and spent the last night of her life\nwith you.  The whole post saw you two go off together the night the\n_Hoonah_ came in.  Boreland has heard the talk, of course.  Too bad, my\nboy,\" the Chief put his hand on the astonished young fellow's shoulder,\n\"too bad, I say, that after all your fastidious virtue you have the\nreputation of being a squaw-man.\"  Kilbuck laughed his short, sardonic\nlaugh.\n\"_She_ thinks I'm a squaw-man?\"  Gregg indicated the disappearing\nfigure of Jean.  His voice was sharp with hurt amazement, indignation,\nand the grasp of his hand on the Chief's arm made that gentleman wince.\n\"All of them do, my boy.  _All_ of them.  But----\"\n\"Now I begin to understand,\" Harlan broke in bitterly.  With a muttered\nimprecation he flung himself into the trail and walked toward the\ncourtyard where a light shone palely from Kayak Bill's window.  The\nWhite Chief looked after him until he vanished.  Gregg had been sober\nfor a week now, but if Kilbuck was any judge of indications, the\nbookkeeper's sobriety was at an end.  As the trader turned toward the\nbeach and walked to the canoes now landing in the dusk, he smiled to\nthink how neatly he had nipped in the bud any possible romance between\nGregg and Jean.\nTwo hours later in the loft above Kilbuck's living quarters Jean was\nkneeling at a tiny window looking up at the ridge where dark spruce\ntrees peaked a line against the night sky.  It was a strange guest\nchamber pungent with a faint, unforgetable odor from fox pelts dangling\nfrom the rafters, bear hides tacked to the slanting roof, and rows of\nsmoked salmon and dried cod hanging from lines along the sides.  Loll\nlay fast asleep on his small floor-pallet, his face half-buried in his\npillow, his mouth reverted to the pout of babyhood.  The door leading\nto Ellen's room--the only real room in the loft, was partly open.  Jean\nrose and closed it, took up her violin from her own floor bed, and went\nback to the window.\nSoftly fingering the strings she picked out the notes of the Indian\nlament that kept repeating itself in her mind.  She was possessed by a\ndesire to express in music the mystery of the wilderness afterglow, the\nwild, illusive feeling that had touched her.  She longed to use her bow\nfreely on the strings of her violin until, at one with the instrument,\nshe could lose herself in the ecstasy of creation. . . .  She reached\nfor the bow that lay on the floor beside her.  Perhaps, if she played\nvery softly she might disturb no one----\nUp from the courtyard, as if a door had been suddenly opened, came\nstartling sounds--short yells, Indian war-whoops and the maudlin\nsinging of white men.  The mournful, prolonged howl of a dog drifted in\nfrom somewhere.  Down in the direction of the Indian village half a\ndozen shots were fired in rapid succession.  Jean's heart beat oddly.\nKatleean was beginning to celebrate the Potlatch in the singular way of\nthe male, who, since time immemorial has made a holiday an occasion for\na carousal.  The girl sighed, and placed her violin gently on the\nfloor.  With her chin in her hands she took her former position at the\nwindow and listened.\nSomewhere near the store a trio began.  The blended harmony of men's\nvoices as they sang in the dusk had in it a peculiar stir.  Jean found\nherself, head up and shoulders swaying, responding to the lilt and\nswing of the air:\n  \"Hear the rattle of our windlass\n  As the anchor comes away;\n  For we're bound for Old Point Barrow\n  And we make our start today.\"\nRollicking, devil-may-care, the whaling song went on through long\nverses.  Many of the words she could not distinguish, but throughout\nthe singing she was aware of a feeling that these singers were men who\nhad cast aside the restraint of conventions, even in a way,\nresponsibility for conduct, and were exulting in their freedom.\nThinking the song finished she turned away at last, but the movement\nwas arrested by the sound of a lone baritone taking up the chorus\nagain.  She leaned over the sill to catch the words, for in the voice\nshe recognized her companion of the drift logs.\n  \"Up into the Polar Seas\n  Where the greasy whalers be,\n  There's a strip of open water\n  Leading north to eighty-three,\n  Where the frisky seal and walrus\n  On the ice floes bask and roll.\n  And the sun comes up at midnight\n  From an ice-pack round the Pole.\"\nApprehension in the girl's heart vanished.  She drew a deep breath of\nthe night air and turned reluctantly from the window.  \"There's a strip\nof open water leading north to eighty-three--\" she hummed.  The words\nstirred in her dim, venturesome imaginings.  She felt suddenly on the\nthreshold of adventure beyond which might lie the fierce, wild things\nof romance that only men have known.  It alarmed, even while it\nexhilarated her.  She felt afraid, yet daring.  She was beginning to\nfeel the lure of Alaska--the vast, the untamed, the inscrutable, the\npromising.\nAs she slipped between her blankets she thought of the young white man.\nSquaw-man he might be, and a drunkard, but he had the heart of an\nadventurer . . . he was young . . . and he could sing . . .\nCHAPTER VI\nTHE WHITE CHIEF MAKES MEDICINE\nSunless and softly grey morning came to Katleean.  The water, smooth as\nsatin, stretched away to the mist-shrouded hills.  Owing to some odd,\nmirage-like condition of the atmosphere trees bordering the lagoon\nacross the bay stood high and clear above a bank of fog.  The liquid\nmusic of the surf was hushed as if to give place to a new sound that\npulsed unceasingly on the quiet air: the strange and thrilling boom of\nThlinget drums.  Up from the great Potlatch-house in the Village\nfloated the savage resonance adding a barbaric note of announcement to\nthe placid beauty of the scene.  Above the roofs of the native houses\nand straight between the totems of the Thunder-bird and the Bear, rose\nthe black smoke of the Potlatch fire.\nThough it was early, the double doors of the trading-post stood open\nfor the White Chief had been abroad several hours.  After a night of\nrevelry in Katleean there were always knife-wounds to dress, battered\nheads to bind up, bullets to extract, and even broken bones to set.\nThe nearest doctor was five hundred miles away and Kilbuck, often the\nonly sober man at the post, with the exception of Kayak Bill, performed\nthese services.\nSome said that he had learned all he knew of medical science from the\nrow of gold-lettered volumes tucked away in one corner of his dusky\nliving-room; others claimed that a great eastern medical college had\nknown him as a student in the far-off days before Alaska took him for\nher own.  Whatever was the source of his knowledge he did his work with\na degree of rough skill, and humanely, using as an antidote for the\npain he inflicted during these operations, stupendous quantities of the\nvery liquor which had brought about his patients' troubles.\nAmong the Kagwantans of the Thlinget people he had been given the rank\nof Shaman, or medicine man.  To further his own ends and to keep his\nhold on the natives, he had always donned the robes that went with this\nconferred honor and had taken an active part in the Potlatch\nceremonies.  As the years went by, with but four steamers a\ntwelve-month to disturb his voluntary exile and but a waning interest\nin anything south of Dixon's Entrance, he had grown to have a real\nenjoyment in these affairs.  They served to banish any lingering\ninhibitions imposed by civilization.\nAs he walked across the courtyard toward the little cabin of Silvertip\nand his squaw, Senott, there were thoughtful lines in the White Chief's\nbrow.  Today he would have an opportunity to impress the white women\nwith his importance among the wild people of the North.  Today Ellen\nBoreland should see him as the great chief and Shaman, banisher of\nThlinget sorcery.  But--how far might he go in this character without\nrunning the risk of becoming ridiculous?  Never before had such an\naudience taxed his powers of discrimination.  True, by subtle speeches,\nhe had prepared his visitors for anything that might happen, and he\nknew they would excuse much that was bizarre on his own part because of\nhis explanation that such ways were necessary in handling a primitive\npeople.  But he also knew that there is but a thin dividing line\nbetween savage pomp and ludicrous ostentation.\nAs he neared Silvertip's door he raised his head decisively and\nmounting the steps entered without knocking.\nHis glance swept the small room with its snowy sand-scoured floor, its\nrectangular box-stove of sheet-iron, and two corner bunks, one above\nthe other.\n\"Well, Silvertip, you and Harlan are the last ones on my list.  I can't\nfind _him_ any place, but I see you've come to anchor all right.\nWhat's the matter with you?\"  He addressed the wan-looking Silvertip in\nthe lower bunk.\nA long-drawn sigh quivered up from the blankets, and with a shaking\nhand the Swede indicated his head.\n\"My ol' ooman (groan) . . . lick hal outen me . . . (groan)!\"\nKilbuck bent down and parted the fair, blood-matted hair on the side of\nhis patient's head.\n\"Oh, you're not much hurt, man.  You and Senott ought to learn to take\na little drink together without beating each other up this way.\"  He\nlaughed as he made ready to cleanse the cut.  \"May I inquire where the\nlady is this morning?\"\nBetween groans the injured husband profanely unburdened himself:\n\"She go down de tarn Injune house vit dat tarn Injune hunter,\nHoots-noo!\"\n\"Trouble with you, Silver, you're too good to women.  Now, instead of\nusing the iron hand on them you show the yellow streak----\"\n\"Me--jallow streak?\"  The indignant Swede raised his battered head to\nglare into the eyes of his satiric physician.  \"Vy, tammit, Chief, ven\nay ban cook on _Soofie Suderlant_ ay----\"\n\"That reminds me, Silvertip,\" interrupted the White Chief.  \"You\nremember telling me about stopping for water on the Island of Kon Klayu\nwhen you were whaling?  Yes? . . .  Well, while you are lying here\nsobering up, I want you to think about that island, Silver.  I want you\nto remember every little thing about it that you can, and after the\nPotlatch I'll be in to talk to you--perhaps.  I'll go and hunt up\nHarlan now.  Damned fool!  He raised hell last night--something started\nhim off.  No doubt he's down around the Point swimming it off now.\nQueer how that fellow loves water--on the outside of his skin.\"\nThe trader left the cabin and started across the courtyard.  It had\ngradually filled up with multi-colored, grotesque figures that might\nhave stepped from the pages of some weird, fantastic fairy-tale.  The\nnever-ceasing beat of the Potlatch drums made a throbbing, low\naccompaniment to their guttural tones and laughter.  They stalked about\nwrapped in heavy broadcloth blankets adorned with designs and borders\nmade of white pearl buttons--thousands of buttons--a style which had\ncome in when the white traders came to Alaska.  Many wore the native\nChilcat blanket of ceremony made of the hair of the mountain goat.\nThese were marvels of savage embroidery done in conventionalized\ndesigns that might have startled a Cubist painter had they not been\nwoven with the softest-toned native dyes--yellow, pale-blue and green\nand rust.  Huge, fierce detached eyes, the Thlinget symbol of\nintelligence glared from some.  Mouths with queer, squared lips and\nlarge teeth grinned from others.  A school of killer-whales with dorsal\nfins aloft, disported themselves in rectangles of black on the back of\nanother.  From the bottom a two-foot fog-colored fringe dangled about\nthe wearer's legs.\nAbove the fantastic robes black eyes looked out from painted faces\nrendered fearsome by red and blue and green designs representing\nmythical gods of the clouds, waves, and beasts, fish and birds.  Heads\nwere crowned with the skulls of grizzly bears and small whales.  A few\nfigures were disguised by pelts of animals, but instead of paws, huge\nwooden hands with fingers more than a foot long, dangled from the\nforearms.\nSwimming Wolf, brave in a dance-blanket which bore the wolf emblem of\nthe Kagwantans, held his head proudly under the sacred hat of Kahanuk,\nthe Wolf, and on his face in red and blue was the Kia-sa-i-da, the red\nmouth of the wolf when the lips are retracted.\nAs the White Chief made his way through the throng he noted with\nsatisfaction that Ellen Boreland and her sister were standing\nspellbound in the doorway of the trading-post watching the primitive\nmasquerade.  Even as he looked a creature broke suddenly from the crowd\nand rushed toward them, half-running, half-flopping like a wounded\nbird.  To one side of its face half a moustache was attached.  The\nother cheek was adorned with red and blue paint.  The hair was twisted\ninto a high peak and further decorated with the wings of a seagull.  A\nman's hair-seal waistcoat trimmed with red flannel hung from the\nshoulders and from this streamed yards of brilliant colored calico\nstrips an inch wide.\nAs the figure reached the platform, the two white women shrank back in\nthe doorway.  The half-portion of the moustache was raised in a\ndelighted grin.\n\"Heavens, Ellen!\" gasped Jean, clutching her sister's arm.  \"It's that\njolly little Senott, Silvertip's squaw.  The one that brought us the\nstrawberries the other day!\"\nSenott, proud in her Potlatch finery, came close and gazed with\nfriendly eyes at the white visitors.\n\"Ha!  Ha!\" she laughed.  \"You not know Senott?  Senott all same\n_kate-le-te_--all same seagull!\"  She threw out her arms raising them\nup and down and lifting high her feet to represent a seagull alighting\nat the edge of breaking surf.\n\"Bime-by you white 'oomans come along Senott--\" she pointed in the\ndirection of Kilbuck's living-room windows under which he had caused a\ngreat grave to be dug.  \"You come.  Senott show you t'ings.\"\nWith a wide smile and a wave of her hand the gay Senott, apparently\nforgetful of the white spouse at home nursing the broken head\nshe had given him, flapped away to join her Indian lover,\nHoots-noo, Heart-of-a-Grizzly, the handsome young husband of\nOld-Woman-Who-Would-Not-Die.\nAt noon every soul in Katleean had assembled in front of the\ntrading-post.  The boom of drums was louder.  There was a feeling of\nexpectancy in the air.  The few whites, with the exception of Kilbuck,\nsat on the platform in front of the store.  The natives formed a\nshifting, motley crowd in the courtyard.  Kayak Bill, sitting next to\nEllen, smoked his pipe as he contemplated the scene.\n\"Wall, Lady,\" he drawled, leaning toward her, \"I seen a heap o' this\nsort o' jaberwocky doin's in my time up here, and it used to make me\nfeel like as if them Injines had a tank full o' doodle-bugs under their\nhair--but I don't know--  Take us white folks down in the States now,\nwhen we're a-celebratin' o' Decoration day without our speeches and our\npeerades and our offerin's o' posies and such.  It's the same principle\nexact----\"\nThe old man ceased speaking abruptly.  Out of the door behind them and\ndown the platform steps walked the White Chief of Katleean and the\nlittle Thlinget woman, Decitan.  About her shoulders was draped a\nfringed black and yellow blanket of wondrous design.  On her dark,\nthick hair she wore the crest of the Eagle clan--a privilege accorded\nonly to a chiefess.\nThe waiting Indians stood back from about these two principal figures\nin the courtyard, and Paul Kilbuck, with the Indian woman beside him,\nturned to face the white woman on the platform whose favors he hoped to\nwin.\nHe felt himself splendidly barbaric in the costume of a Shaman.  The\ngreens and blues and yellows of his royal Chilcat blanket and dancing\nshirt set off his dark beard and dead-white skin.  Carved wooden\neagle-wings on each side of a tall hat crowned his hair.  Below this\nemblem of the Shaman spirit, the Unseeable, his eyes, narrow, pale and\ndangerous sent straight into those of Ellen a look that might have come\ndown through the red pages of history.\nShe turned her face away with a frightened quickening of the pulses.\nThe White Chief and Decitan took their places at the head of the Indian\nprocession which had been forming, and the long, fantastic line wound\nabout the courtyard and down the trail that led to the Village.  Before\nthe graveyard, with its totems and curious architecture of the dead,\nthey stopped and began a mournful ululation.\nThe wailing gradually gave way to the Potlatch songs in honor of the\ndeceased--songs of curious rhythm and halting cadences; songs with a\nhaunting plaintiveness that floated high above the throbbing of the\ndrums.\nOn the platform the white inhabitants of Katleean waited in silence\nuntil the procession came back once more to the courtyard.  Then one by\none they attached themselves to the line.\nAbout the excavation under the windows of the White Chief the funeral\nparty halted.  Kilbuck, his handsome, barbaric head towering above all,\nspoke to the natives in Thlinget a few moments.  Then one by one the\nsmall boxes containing ashes of the dead were handed to him.  He\nlowered them into the grave.  As the last one settled on the bottom he\nstepped back, flinging one corner of his fringed blanket from his\nshoulder.  He exulted in the sense of power such an occasion gave him.\nHe liked to feel that in the hollow of his hand he held every soul in\nKatleean.\nPerhaps in his heart there still lurked some faint respect for the\ndead.  Perhaps he merely intended to impress the white women in his\naudience, as from under the bizarre robe of his heathen office he\nproduced a prayer-book, and in the voice he knew so well how to\nmodulate, read the service for the dead.  At the close he swept the\ngathering with an inclusive glance.  First in Thlinget, then in English\nhe addressed his listeners:\n\"People of the Kagwantans, of the Wuckitans, of the Yakutats, and the\nGanahadi,\"--His voice made music of the Indians names.--\"Listen to the\ntalk I make and remember.  Always, while I am the White Chief and\nMedicine Man of the Kagwantans, I will watch over the ashes of my brown\nbrothers and sisters.  Always, when the nights of the Big Snows come to\nKatleean and the spirit-lights whisper in the North in the moon of\nKokwa-ha, I, the Unseeable, will watch. . . .  Always, in the moons of\nthe Big Salmon run, the Hat-dee-se, when there is no darkness in the\nnights of the North, I, the Unseeable, will watch. . . .  I, who have\nbrought you the great white medicine of the Letquan, the Snow People, I\nmake the Big Medicine now--I make it with the sacred book of the White\nShamans.\"  He held one corner of his Chilcat blanket tightly against\nhis breast with the prayer-book, and with the other out at arm's\nlength, swept the fringes slowly back and forth over the grave.  \"I\nmake the Big Medicine. . . .  My brothers and sisters may rest in peace\nat Katleean, for no witch can dig down into the grave below to work\nevil spells. . . .  I, the White Chief, the Unseeable, I am always\nwatching.\"\nThe solemn old Indians of the tribe nodded their masked heads\napprovingly and gave grunts of satisfaction.  Kilbuck turned away as if\na bit weary of his role and walked toward the trading-post.  The white\nmembers of his audience followed him.\nAfter the departure of their foreign visitors the natives assumed an\nalertness strangely at variance with their usual stolid demeanor.\nKilbuck, with his white guests, watched them from his living-room\nwindows.\nBlanket after blanket was spread over the boxes of ashes in the grave.\nBolt after bolt of bright calico was torn into streamers and flung into\nthe open space.  Cooking utensils and food came next; then trinkets of\nevery kind that might cheer the souls of the departed on their journey\nover the Spirit Trail.  At the very last, Swimming Wolf, who had\nheretofore taken little part in the ceremonies, stepped forward with a\ntiny phonograph, a rare possession since it was the only one in the\nVillage.  The Indian carefully wound it up and lowered it into the\nhole.  There was a craning of masked heads, . . . a period of grunting\napproval, . . . and then faintly from below came a whirring, a\nsputtering and a high, cracked voice of announcement.  The White\nChief's face wore its sardonic smile as the gravel was being shoveled\ninto the grave for the little tin phonograph was bravely playing:\n_There'll be a Hot Time in the Old Town Tonight_.\nCHAPTER VII\nTHE POTLATCH DANCE\nEvening found the Boreland family, attended by Kayak Bill, taking the\nbeach trail to the Village.  It was well past nine o'clock and the\ntwilight had merged into the soft, luminous duskiness that would\ncontinue until the sun came up at two-thirty in the morning.\nIn the gloom a hundred blanket-covered canoes lined the crescent beach\nthat sloped gently upward to a strip of gravel before the row of Indian\nhouses.  The totems of the Thunder-bird and the Bear stood out high\nagainst the sky.  Before the Potlatch-house an Indian dog, small,\ncoyote-like, yelped shrilly as he tugged at the rope which fastened him\nto a stake.  The air throbbed to the incessant beat of drums and the\nmuffled chant that rose and fell inside the meeting-place.\nThe Potlatch-house, older than the oldest Indian at Katleean, had been\nbuilt before ever a white man had set foot on the beach of the Village.\nThe low building, over sixty feet square, was made of huge, hand-hewed\nyellow cedar planks standing vertically.  The gable ends faced the bay\nand all across the triangular space above the eves was painted the\nstartling conventionalized head of a wolf.  The ears rose weirdly from\nthe gable edge of the roof.  Two monster eyes glared through the\ntwilight above a grinning, squared mouth twenty feet across.  On either\nside of the oval door stood a totem, hollow at the base and containing\nthe ashes of long-dead chiefs.  The corner-posts were carved into\nlife-size grotesque figures of men.\nBetween Ellen and Jean sauntered Kayak Bill.  Their half-fearful looks\nat the Potlach-house were inspired by the stories he had told, with a\ncertain grim amusement, to these two fair women of the South.  They\nwere stories told to him over the hootch-cup by the wicked\nOld-Woman-Who-Would-Not-Die; tales of the long-ago heathen times when\nthe Potlatch-house was erected and dedicated with human sacrifices;\nwhen for each of those carved corner-posts a slave had been murdered\nand placed at the bottom of the hole that was to receive it; tales of\nscores of slaves who had been slaughtered upon its completion; tales of\nanimal-like orgies those walls had seen--cannibal feasts, torture of\nwitches, fiendish carousals about the burning dead.\nTame, indeed, in comparison were the Potlatches of this day, even when\nthe savage spirit was stimulated by the white man's fire-water.  And\ntonight there could be none of that.  In honor of the white women,\nKayak Bill was keeping drink from the Indians this one evening.\nEllen looked at Jean apprehensively as they pressed closely on the\nheels of Shane Boreland and followed him through the low, oval door of\nthe Potlatch-house.\nInside the air was thick with the smoke of many pipes.  Through the\nhaze the wall lights burned dimly.  All about the sides of the great\nroom squatted natives in their Potlatch finery.  At the farther end sat\nthe drummers beating in booming rhythm on war-drums made of hair-seal\nstretched over rings from hollowed logs.  Never during the three days\nof the Potlatch did those drumbeats cease.\nNear the doorway was a small slightly-raised platform.  On this, in his\nShaman robes, sat the White Chief of Katleean.  As they ascended the\nstep he rose ceremoniously to greet them and indicated some chairs near\nhim which had been placed in anticipation of their coming.\nWhen the white visitors had seated themselves the drum-beats took on a\nquicker staccato rhythm.  There was a craning of necks toward the\ndoorway.  Another moment and the chief dancer of the Potlatch entered\nthe oval.\nDancing in backwards so that the decorations on his blanket were\ndisplayed to the best advantage he sang a halting Thlinget song and\nscattered the down of eagles about him.  In the middle of the room he\nwhirled and Ellen recognized Swimming Wolf.\n\"If the feathers fall on you,\" said the White Chief leaning toward her,\n\"you'll have good luck all the year.\"\nOther dancers backed in and took their places about the drummers.  As\nSwimming Wolf stepped forward the drum-beats died to a muffled\nsoftness.  The dancing sticks beat the floor in a low, sensuous\nsyncopation that stirred the blood.  The long-fringed blanket lent a\nwild grace to the Indian's swaying, stamping figure.  His crouched\nsteps seemed part of his faint, humming chant.\nCurious at first, and a little apprehensive, Ellen looked on, her hand\nclasping that of her husband.  After a while, the steady pulsing of the\ndrums banished that something faintly like foreboding with which the\ncivilized woman looks for the first time on primitive ceremonies; it\neven stirred in her something that she seemed once to have known and\nforgotten.\nBy the time Swimming Wolf had finished his steps she had withdrawn her\nhand from that of Shane and was anticipating with eager interest what\nwas coming next.\nShe had not long to wait for the oval door swung on its peg and into\nthe room lumbered a huge brown bear so true to life in form and gait\nthat both she and Jean gave a startled gasp.  The White Chief smiled as\nhe leaned toward them.\n\"It's only Hoots-noo, Heart-of-a-Grizzly, dressed in a bear hide!\"\nThe Indian must have spent many hours studying the actions and habits\nof his ferocious namesake, for in the pantomime that followed he gave a\nperfect imitation of the great bear of the North.  Shambling down\ntoward the center of the floor he paused.  Striking a pose he made a\nmotion as if jumping into a river to catch a salmon.  With a\nfloundering of his ungainly body he brought the fish up on the bank of\nthe stream.  He turned his uplifted muzzle from side to side as if\nscenting danger and presently proceeded to tear the fish into pieces,\nhis head continually moving as though looking and listening for the\nhunter's rifle.\nHoots-noo's performance was followed by other clever impersonations and\nby more solo dances of blanketed Indians.  All the dances, the White\nChief told Ellen, were taken from the movements of the wild things of\nthe North--the slinking of the fox across the tundra, the leaping of\nthe King salmon in the river, the flight of the eagle over the fishing\ngrounds.\nWhen the general dance was announced every Thlinget buck sprang to his\nfeet and sought a partner of the opposite sex.  About the room in a\ncircle the fantastic figures leaped with savage abandon.  When the\ntired couples sought the resting places against the walls again and\neach buck gallantly presented his partner with a small bag of\nraisins--a custom introduced by the enterprising white traders.\nFaster and more softly came the boom and thud of drums and dancing\nsticks, until the urge of them caused even Ellen's feet to beat time to\nthe primitive music.  She glanced at her sister.  Jean's eyes were\nsparkling.  Her lithe body was swaying and her hands moving in rhythm\nwith the Thlinget's dance.\n\"For two cents, Ellen, I'd dance with my admirer, Swimming Wolf!\"  She\nlaughed in her sister's ear.  \"I feel the stir of the blood of our\nremote ancestors, who must have stepped it off in some such manner as\nthis. . . .  Look at your son, El!\"\nLoll, by now regarding every Indian as his friend, was standing before\nSenott.  That dusky belle was resting after a mad, joyous whirl with\nHoots-noo, Heart-of-a-Grizzly.  The boy's head was nodding with\nearnestness as he talked to her, and he was playing with the dozen gold\nand silver bracelets which adorned the gay one's shapely arms.\nSuddenly, with a laugh, Senott rose from the floor and grasping the\nboy's hands began to circle about the room with him.  The drummers and\nholders of the dancing sticks showed their white teeth in delighted\ngrins and quickened the rhythm of their music.\n\"By ginger,\" said Shane, his lean face alight with interest, \"I'd like\nto shake a leg myself.  Ellen--\" he turned to his wife--\"what you say?\"\nEllen shook her head, smiling.  \"Take Jean, dear.  She's wild to dance.\"\nShane turned to his sister-in-law.  Laughing, she gave him her hand and\nthe two stepped down and joined the bizarre throng.  The smiling\nnatives paused a moment to watch as the white couple improvised steps\nto suit the music, then the dance went on as before.\nThe drum-beats grew wilder, more stirring.  The room grew warmer and\nthe lights burned dimmer.  Kayak Bill sitting between Ellen and Paul\nKilbuck, attempted a monologue, but finding no listeners, gave it up to\npuff contentedly.\nThe fumes of Kayak's pipe seemed overly strong to Ellen.  She began to\nfeel the need of fresh air.  She glanced at her sister and her husband\nas they passed her, laughing over an intricate step they told her was\nthe \"Bear Paw.\"  Kayak Bill and the White Chief seemed buried in their\nown thoughts.  Ellen rose, looked about her a moment and then slipped\nquietly out of the oval door into the cool, star-spangled night.\nAfter the close air of the Potlatch-house, it was good to draw in the\nfreshness of the out-of-doors.  The two tall totems framed a golden\nnaked moon that hung above the hills across the bay.  The shimmering\npath from its glow threw into silhouette the prows of the big canoes\ndrawn up on the beach.  Ellen walked down the sandy path toward them.\nPausing she leaned against one and gazed idly out across the water.\nFor the moment the chanting of the natives had ceased, and the\ndrum-beats sounded muffled and soothing.  Weird and lonely from a\ndistant ridge came the faint call of a wolf, presaging, though she did\nnot know it, an early winter.  She became aware of the aromatic savors\nof the wild--sea smells, the forest breath, the tang of camp-smokes.\nShe was beginning to like these things.\nThere was a sense of dream-like unreality about the night--about her\nwhole life at Katleean.  Sometimes she caught herself marveling that\nshe was not more startled, more surprised at the new ways of life that\nhad come to her, for it is only the seasoned traveler in the little\nknown places of the world who ceases to marvel at the adaptability of\nman to new and strange environment.  Alaska, especially, Ellen thought,\nseemed to work strange spells on those who came to dwell within her\nborders.  What would be considered melodramatic and foolish south of\n53, became somehow, natural and fitting above the line.\nHer drifting thoughts were suddenly checked by the sound of soft\nfootsteps in the sand behind her.  She turned swiftly.  Her dreamy,\ncontemplative mood changed to one closely akin to panic, as out of the\nshadows tall and dominant in his Potlatch robes, the White Chief\nstalked toward her.\nShe had no tangible reason for fearing to be alone with the trader of\nKatleean, and she despised herself now for the impulse that urged her\nto run as fast as she could from the man.  Mentally upbraiding herself\nfor her foolishness she forced a smile of greeting and in her haste to\nsay something that would put the meeting on a commonplace basis, burst\nout with the inane and obvious:\n\"Isn't it a beautiful night, Mr. Kilbuck?\"\nThe White Chief stopped beside her and flung back the blanket from his\nshoulder.  There was a lawless gleam in the narrow eyes he turned on\nher and she was not unaware of a certain savage, picturesque appeal in\nhim.  She felt again a strange, undesired impulse that had troubled her\never since her first meeting with the man--the urge to go close and\nlook deep into his pale, hypnotic eyes.\n\"On nights like this, Mrs. Boreland,\" he said, his tones low, almost\ncaressing, \"I always think of those lines--perhaps you know them:\n  \"'Press close, magnetic, nourishing Night!\n  Night of the South Winds!  Night of the few large stars!\n  Still, nodding Night.  Mad, naked summer night!'\" . . .\nDespite herself, Ellen thrilled under the magic of his voice.  He went\non: \"It's the memory of such nights that bring me back to this country\nyear after year, and then . . . when I return . . . there is only the\nmocking beauty of their loneliness.\"\nEllen knew but little of the \"good, grey poet,\" but at the incongruity\nof his quoting she gazed with a new curiosity at this tall figure in\nthe heathen splendor of a Thlinget witch-doctor.\n\"To be satisfying,\" he said softly, \"beauty like this must be shared\nwith a loved woman. . . .\" his sweeping gesture indicating the moonlit\nbay of Katleean.  \"You are the first white woman to share it with me.\"\nHe stepped closer to her.  Though there were three feet between them\nshe felt his presence as a tangible thing.  She stirred uneasily.  The\ndull throb of the drums filled a moment's space.\n\"I have loved many women,\" his low voice went on, \"women--of a\nsort--but never anyone like. . . .\"  There was something tenderly\npersonal in the omitted word.  \"Sometimes . . . I wonder . . . if I\nmight not be a better man if I had someone like you to stand beside me\nwhen winter nights come, and watch the Northern Lights. . . .\"\nKilbuck looked dreamily away toward the peaks raising their subtle\nloveliness to the stars.  Doubtless he must have said the same things\nslightly varied to many women in the States, but never before had\nNature provided such a setting for his posing.  Doubtless it had always\nmade a favorable appeal, for Ellen knew that man, though doing exactly\nas he pleases, is ever holding out his hand to woman to be uplifted,\nand the mother instinct in the feminine heart seldom fails to respond.\nEllen felt suddenly that the situation was getting beyond her.  As she\nleaned against the canoe she tried in vain to think of some ordinary\nthing which would change the current of the White Chief's thoughts and\nenable her to get away to the Potlatch-house without his becoming aware\nof her perturbation.  Fumbling uneasily with the handkerchief in her\nhand she dropped it.  As she stooped to pick it up an exclamation\nescaped her.  She had been resting her head against the up-curving prow\nof the canoe, and now, as she moved, she became aware, by a sharp\npainful tug, that her hair had become entangled in some torn rivets\nembedded in the tarpaulin.\nInstantly Kilbuck was behind her reaching across her shoulders to\nrelease the strands.  They refused to come away.\nAfter a moment of ineffectual tugging, Ellen removed a pin from the\nsoft, thick coil.  Loosed by their efforts with the tangle, her hair\nshook down and tumbled in a lustrous mass below her waist.  She felt\nKilbuck's fingers working at the strands about the broken rivet.\nSuddenly he was still, his hand grasping a long strand of the mass.\n\"Mrs. Boreland, there is a superstition among the Thlingets to the\neffect that whenever a man carries a lock of a white woman's hair he is\nprotected from any kind of violence--no matter what he may have done to\ndeserve punishment.  Your hair is of such a rare shade and texture,\nthere would be no mistaking a lock of it, would there?\"\nWith a swift movement his hand slipped beneath the Chilcat blanket.\nThere was a glint of steel, and the next moment he had severed the lock\nfrom the shining mass.  Ellen started back, snatching up her hair to\nwind it into its accustomed knot, but before she could utter the words\nthat sprang to her lips there was a sound of running footsteps.\n\"Ellen!  Ellen!\" came the voice of Jean, as the girl sped toward them\ndown the pathway.  \"I've been looking everywhere for you!\"\nShe glanced at the White Chief with surprise, suspicion and disapproval\nsucceeding each other in her eyes.  She made no effort to conceal her\ndislike of the trader of Katleean.\n\"Come, Ellen.  Let's go back to Shane.\"\nJean took her sister's hand and the White Chief watched their\nretreating figures for several moments. . . .  From beneath his blanket\nhe drew the long lock of hair he had stolen.  One hand passed gently,\ncaressingly along the length of it.  It clung softly to his finger like\na live thing. . . .  The hair of native women was long and thick, but\ncoarse, and even after long residence in the trader's quarters seemed\nto hold the faint salmon tang of the smoke-house.  But this. . . .  His\nlip lifted in his wolfish smile.  It would be difficult, very difficult\nindeed for a wife to explain his possession of such a trifle. . . .  He\nheld it against his mouth.  The faint perfume of the white woman\nthrilled him.  His nostrils twitched.  He felt his eyes grow narrow as\nwhen he sighted game on the trail. . . .  Suddenly, as if in decision,\nhe turned and walked rapidly up the beach toward his quarters at the\ntrading-post.\nIn his living-room, dark now except for a few dull embers in the\nfireplace, he lighted a candle and crossed to the corner beneath the\nhigh shelf of books.  He drew aside a large hair-seal wall-pocket of\nIndian make, and fumbled a moment.  A small door swung open revealing a\nhollow in the log wall.\nVery carefully the White Chief wrapped the lock of hair in a\nhandkerchief and laid it away in the hiding place.  As carefully he\ndrew out a small moose-hide poke and putting the candle on a nearby\ntable, sat down before it.  He removed the tag attached to the top and\nread the inscription: \"Eldorado Creek gold,\" then he loosened the\nstring.\nOn the wall behind the man, weird, gigantic shadows, born of the\nflickering candle flame, leaped and danced.  In the crude light and\nshade his barbaric gorgeousness became doubly sinister, as he pushed\nthe strange shaman headdress farther back on his dark head.\nHe wiped an ash-tray carefully and poured the contents of the poke into\nit.  Beautifully yellow and gleaming it fell in a golden\nstream--perhaps two ounces of gold dust.  With a satisfied nod he put\nthe poke of dust into his pocket and a few minutes later stepped out\ninto the night.\nThe sound of drums and dancing came up from the Village as he crossed\nthe dim courtyard toward the light that shone palely from Silvertip's\nwindow.  As he entered the cabin the Swede, still nursing the broken\nhead that kept him from participating in the Potlatch festivities,\ngroaned dismally in greeting.\nThere were a few perfunctory words, then for half an hour Kilbuck\ntalked earnestly.  Silvertip protested; he whined; but he listened.\nThere was mention of Boreland and beach sand; of gold dust and Kon\nKlayu.  After much persuasion Silvertip consented to do what the White\nChief outlined.\nKilbuck held out the small bag of gold and the pale-eyed Swede reached\nfor it and put it away under his pillow.\nThe trader rose to go.  As he draped his robe about him, his eye caught\na movement among the blankets in the top bunk.  He started.\n\"God, you fool!\" he whispered hoarsely, leaning down and grasping\nSilvertip's arm.  \"Why didn't you tell me you had some one here.  Who\nis it?\"\nThe Swede groaned.  \"By yingo, Ay plumb forget about te tarn jung\nyack-ass Harlan.  He coom in har dis noon time drunk like hal, wit\nt'ree bottle of hootch.  He tal me he iss lonesome.  He iss drunk now,\nChief.  He can't har not'ing.\"\nKilbuck drew down the blankets from the head of the man in the upper\nbunk.  The boyish sleeping face was flushed.  Dark matted hair clung to\nthe damp forehead and there was a sickening odor of vile liquor in the\nair.  A long moment the trader looked to see if Harlan would open his\neyes.  Then with a contemptuous laugh he flung the blanket over the\nlean young face.\n\"Nothing to fear from him if he drank three bottles of Kayak Bill's\nbrew.\"\nHe stepped out of the door into the courtyard, adjusted his headdress\nand humming a dance-hall ballad, swung down the beach path toward the\nIndian Village.\nCHAPTER VIII\nTHE OUTFIT\nA week later, in the snug little cabin of the _Hoonah_, Ellen Boreland\nsat opposite a folding table, where her husband, humming contentedly,\nwas adjusting a gold-scale.  Ellen's hands were busy with mending but\nher brow puckered anxiously and her eyes had purple shadows beneath\nthem.\nFrom the moment she had realized the loss of her lock of hair, her\nconflicting impressions of the White Chief of Katleean had crystallized\ninto a certainty that he meant no good to herself or to her husband.\nThat he desired her she had now no doubt, and while she knew in her\nheart that she was in no way responsible for this, she felt more keenly\nthan ever that baffling sense of guilt that had attached itself to her\nsince her first meeting with the man.  It seemed some loathed feeling\nshared with the man and more gripping because of words never spoken.\nAnother thing troubled her: Because of him she had told her husband a\nlie--the first during her ten years of married life.  Her mind went\nback again and again to the scene.  They had come back to their room at\nthe post the night of the Potlatch dance.  Jean, full of enthusiasm\nover the events of the evening came in from her loft-room to talk it\nall over with her sister.  Little Loll in a corner, was solemnly\npracticing the bear-antics of Heart-of-a-Grizzly.  Shane Boreland, as\nwas his custom, sat watching his wife comb out the long beautiful\ntresses that were his pride.\nSuddenly he rose from his chair.  \"By ginger, El!\" he exclaimed.  \"What\nhave you done to your hair?  Looks as if you had cut a chunk out of\nit!\"  There was concern in his face as he picked up a handful and\npointed out the severed portion to his sister-in-law.\nEllen's blood seemed to turn to water.  Her heart fluttered in her\nthroat.  What explanation could she give this chivalrous, hot-heated\nIrishman who loved her, and who, she knew from past experience, would\nshoot a man for less than the Chief had done?  She valued above all\nthings the trust and loving companionship that had blessed her married\nlife.  She hesitated, desperately seeking some plausible explanation\nthat would approach the truth. . . .  Shane, she imagined, was looking\nat her keenly now and there was a curious light in Jean's frank eyes.\n\"I--I--cut it, dear,\" she stammered, hiding her face under the veil of\nher hair.  \"I--I cut it to send to mother in the next mail.\"\nThe instant the lie was out she would have given a year of her life to\nrecall it.  She realized, too late, that it but opened the way for\nother lies.  It placed her in the position of one obliged to carry\nindefinitely an unexploded bomb, which the least jar might set off\ncausing--who could tell what destruction.\nThe next day she had insisted with more than her usual vigor on\nreturning to the schooner.  Shane had consented reluctantly, but he\nwould not for the present accede to her wish to leave Katleean.  He was\nstubborn in his determination to learn all that was to be known about\nthe Island of Kon Klayu.\nEllen recalled the events of the week.  Her husband's enthusiastic\nreports of the Island gold.  His talks with the carefully non-committal\ntrader and the thin-nosed, shifty-eye Silvertip; and finally his\ndecision to spend the winter on the Island in search of the precious\nmetal.  Shane was sitting now at the table pouring some shining dust\ninto a saucer and studying the \"colors\" as they fell.\n\"The lure of raw gold, Ellen!\" he mused looking up at her with glowing\ndark eyes.  \"There's no greater magnet for a man in the world, little\nfellow--except the love of a woman,\" he added softly with the smile\nthat had won his wife's heart ten years ago and made her happy in\nsharing his shifting fortunes.\n\"But if I make a go of it this trip, Ellen, I give you my word that\nI'll go back to the States and settle down somewhere,--any place you\nwish.  Look at it--just look at it, El!\"  He held the saucer so that it\ncaught the sunlight streaming in through the round cabin window.  \"By\nJove, it ought to go eighteen dollars to the ounce!  It's clean as a\ndog's tooth!  Silvertip says he and some of his mates panned it one day\nat Kon Klayu while the _Sophie Sutherland_ took on water. . . .  Of\ncourse the party sent over by Kilbuck's Company didn't find much, but\nfrom what I hear they were a hootch-drinking lot who knew nothing of\nmining, and thought only of drawing their pay and keeping drunk.  You\ncan see for yourself, Ellen, what this northern hootch does to a\nman--young Harlan is a good example.  Gone to the dogs in three months,\nthough I can't help liking the fellow.\"\nHe shifted the gold dust again and bent his head to peer at it through\na small microscope.  During the moment's silence came the lap of the\nincoming tide against the hull of the schooner.\n\"That reminds me, Ellen,\" Boreland went on.  \"The Chief received word\nyesterday from a trading-post down the coast that a revenue cutter is\nbound this way on a tour of inspection.  Kayak Bill's going to hide his\nstill and go into retirement until the cutter has finished\ninvestigating.  Seems they're always suspecting him of making hootch!\"\nShane chuckled with amusement.  \"Funny old devil--Kayak Bill!  I like\nthe old cuss.  I've asked him to come over to the Island with me for a\ncouple of months until the Chief brings the _Hoonah_ with our winter\noutfit.\"\nAt the mention of the _Hoonah_ Ellen glanced about the snug, cheerful\ncabin that had been her home for many adventurous months.  This staunch\nlittle schooner had brought her and her loved ones safely over hundreds\nof miles that separated her from her home port.  Thoughts came to her\nnow of wild, stormy nights when she had awakened in her reeling bunk to\nthe scream of wind in the rigging, the roar of waves, the tramp of\nhurried feet overhead and the shouting of voices.  At those times she\nknew Shane stood at the wheel in the drenching rain giving his orders\nfor the reefing of sails.  During the first days of the voyage the\nawakening in a gale had always filled her with a great fear--a fear not\nfor herself but for her family, her little son.  She would clasp the\nsleeping boy more closely in her arms and lie with straining muscles,\nwaiting listening, every sense painfully alert and her eyes\nhypnotically watching the garments on the opposite wall swing out and\nback with the roll of the ship.  Gradually as the schooner righted\nitself after every roll Ellen's nerves would relax.  Unclasping her\narms, she would snuggle close to the back of the bunk,--the few inches\nof the _Hoonah's_ hull that separated her and her loved ones from the\nblack, bull-throated billows that sought to swallow them.  The feel of\nthe cool wood brought a sense of safety, a certainty that with Shane's\nstrong, thin hands on the wheel the _Hoonah_ would bring them all\nsafely through any danger of the sea.  Then bit by bit approaching\nsleep would dim the fury of the gale until at last it was but a lullaby\nzephyr wafting her, like her little son, once more into the harbor of\ndreams. . . .\nShe had not realized how dear the schooner had grown to her until she\nhad signed, against her better judgment, the bill-of-sale that\ntransferred the vessel to Paul Kilbuck.  On the reef-sown coast of Kon\nKlayu it appeared there was no harbor where a ship might find shelter,\nand Shane needed money for his winter outfit.  Half the purchase price\nthe trader had paid down--the other half was to be given Boreland when\nKilbuck took the remainder of the outfit to Kon Klayu later in the fall.\nEllen aroused herself from her reverie.  Shane had been speaking some\nminutes and his first words had been lost to her.  He was quoting:\n  \"One more trip for the golden treasure\n  That will last us all our lives!\"\nLife to Shane was a sweet and wonderful thing.  Though there had been\nyears of hardship and struggle and often failure in the mining game, he\nstill retained an eager joy in existence, a faith in men and women and\nsomething of the wonder of a boy.  Perhaps it was because the place of\nhis questing had ever been the forests, the mountains, the clean,\nunpeopled places.\nHis present life of a prospector, sailing his little schooner boldly\nacross dangerous reaches of ocean, through the intricate lovely\nwaterways of Alaska's Inland Sea, poking her prow into hidden crescent\ncoves, trying his luck with a gold-pan on unknown streams, always sure\nthat the next shift of the gravel in the pan would reveal a\nfortune--all this made life fascinating for Shane Boreland.  No matter\nhow far short realization fell, he was always ready with another dream,\nalways eager when a new adventure beckoned.\nAnd now it was the mysterious Island of Kon Klayu.\nStripped of the golden glamour with which Shane had invested it, Ellen\nknew it to be an island but five miles long and a mile and a half wide,\nwhich lay out in the North Pacific ninety miles from the nearest land;\nan island uninhabited and completely surrounded by dangerous reefs and\nshoals; shunned by ships and spoken of as a death trap by sailors.  But\none tree, other than alder and willow, grew upon it.  Three hundred\nfeet above sea-level on the high, flat top, a lone and stunted spruce\nrose from the tundra and breasted the heavy gales that swept the ocean.\nFor firewood there were but the drift logs of the beach.  There were no\nanimals of any kind.  The foxes and a pet cub bear taken there by the\nAlaska Fur and Trading Company at the time of the fox-farm experiment\nhad been killed off by passing whalers who were sometimes forced ashore\nfor water.\nShane had entertained no idea of allowing his wife and family to\naccompany him to the Island.  All his powers of persuasion had been\nused to induce Ellen to stay at Katleean with her sister and Loll as\nguests of the White Chief until the tall steamer going south should\ntake them back to the States.  The trader, Ellen knew, had taken this\narrangement for granted and she was certain she detected something of\nbaffled rage in him when she informed him on her last visit to the\nshore, that since she could not dissuade her husband from going to the\nIsland of Kon Klayu she and her family would accompany him.\nIt was in vain the White Chief pointed out to her that there were not\nprovisions enough at the post to supply Shane with a complete winter\noutfit.  He must sail at once for Kon Klayu in order to prepare for the\nwinter's work, and the autumn steamer bringing more supplies was not\ndue for six weeks.  It was in vain Kilbuck assured her that he,\nhimself, would take her to the Island later on when he went over with\nthe remainder of Shane's outfit after the arrival of the steamer.\nEllen was obdurate in her decision and once having committed herself\nshe became a different woman.  Whatever misgivings she held in regard\nto the enterprise she kept to herself.  She plunged whole-heartedly\ninto the preparations for the journey, becoming at once the practical\ndirector of the commissary.  She looked carefully over the stock of\ngoods at the trading-post and obtained far more in the way of supplies\nthan the easy-going Shane, inclined to trust to the trader's judgment,\nwould have done.  And Kilbuck, for some reason, seemed disinclined to\nfurnish even as much as his stock would allow.\nFor the past week Ellen eluded every effort made by the White Chief to\nsee her alone.  Since the night of the Potlatch dance she had talked\nwith him only in the presence of a third person.  Strange to say she\nfound now that she could look him squarely in the eyes, but when she\ndid so it was as if steel met steel.  The feeling that she was playing\na game of wits against the autocrat of Katleean was not without its\ninterest for her.  It was impossible entirely to conceal her growing\nhostility toward the man, and she knew that her wordless antagonism was\nfelt by Kilbuck.  To her anxiety she knew also that instead of\ndiminishing his appetite for her, it increased it.  She was growing\neager to be away.\nThe outfitting went forward daily.  Jean and Loll spent many hours\nashore exploring the vicinity with Senott or Kayak Bill.  Sometimes the\nvisitors caught a glimpse of the tweed-clad young man who seemed so\nquiet and aloof, and who, even when not drinking, avoided them all.\nEllen observed a certain interest in him growing in Jean.  A tentative\nquestion or two put to Kayak Bill revealed this, though it availed her\nnothing.  The old hootch-maker, muttering something about \"everybody to\nhis own cemetery\" had branched off to relate something he had \"hearn\ntell\" when he was \"a-punchin' o' cows down in Texas.\"\nEllen, as well as Jean, wondered at the presence in Katleean of such a\nman as Harlan, and the reason for his connection with the dead\nNaleenah.  Understanding of another's lapses comes with years and Jean,\nEllen knew, was too young fully to realize what this young man's\ndissipation portended.\nEllen kept a sharp eye on Harlan.  Though she herself shared Jean's\nmild curiosity and faint pity, she managed to keep her sister at a safe\ndistance from him.  She intended very carefully to guard Jean.\nSometimes, in the evening, when the girl stood on the after-deck of the\n_Hoonah_, her violin tucked beneath her chin, her eyes on the dreaming\nradiance of the sunset, Ellen studied her as she played.  She wondered,\nif in her heart, the young girl played to him, and if he heard.  And\nonce, to her anxiety, as she sat listening to the silvery music\nfloating out over the water, she had caught a shadow moving on the\nshore--had seen a figure move stealthily down a hidden trail to the\nPoint beyond the Indian Village and lie behind a great boulder,\nlistening. . . .\nThe outfitting for the Island was nearly complete now.  Each of the new\nacquaintances at Katleean contributed, with friendly intent, to the\npreparations of the departing travelers.  In the cabin of young Harlan,\nwhich had been the home of the deceased Add-'em-up Sam were shelves\nladen with dusty books, old magazines and piles of ancient newspapers.\nAt Kayak Bill's suggestion the bookkeeper had packed the best of these\ninto a box and the old hootch-maker had borne the package to Jean,\nremarking that \"readin' matter might come in mighty handy on the\nIsland.\"  The box was placed with Shane's outfit stacked in a corner of\nthe store.\nEllen and Jean were looking through the collection one afternoon,\njudging the departed Sam by his taste in literature, which they found\nto be surprisingly good.  As Jean turned the pages of _Treasure\nIsland_, a paper fluttered to the floor.  The girl picked it up,\nreading aloud the caption over a crude, penciled map: \"The Island of\nKon Klayu.\"  She unfolded it and was smoothing out the creases that she\nmight better study the drawing when Loll came running in from the\nplatform in front of the store.  His freckled face was puckered with\nsuppressed grief, his grey eyes abrim with the tears he was too proud\nto shed.\n\"Mother--Jean--look at poor Kobuk,\" he faltered, with a gulp that\nthreatened to send the drops tumbling over his brown cheeks.\nKobuk, the big huskie, had wagged himself into the hearts of every\nmember of the Boreland family.  Ellen knew that Shane had offered the\nWhite Chief a good price for the animal, but the trader had refused to\npart with his lead dog.  Even when it was discovered that the huskie\nhad developed mange Kilbuck would not give him up, though he did\nnothing to relieve him.  Shane, busy with his outfitting, found time to\ntake care of Kobuk, rubbing him every day with a mixture of sulphur,\nlard and carbolic acid until he was practically cured.  Jean and Loll\nhad attended these treatments taking turns holding the bowl of sulphur\nsalve and encouraging the restive Kobuk to be a good dog and take his\nmedicine.  Now it was with the utmost pity and concern that they beheld\nhim slinking to his corner in the store, for he had been out on a\nporcupine hunt and his nose, his entire head was literally bristling\nwith needle-like quills.\nEllen had seen irate dog-owners spend hours with a pair of pinchers\nremoving quills from their animals, and she knew that even one of those\ntiny needles, if overlooked, could work its way straight through\nKobuk's body.  If it struck a vital organ, he would die.\nThe dog eased himself into his corner and tried to rest his head on his\npaws.  The quills under his muzzle stabbed him and he raised it with a\nsharp yelp of pain.  Jean and Buddie sprang toward him with expressions\nof sympathy and endearment.  The dog whimpered, raising his soft, dark\neyes to their faces as if begging for help in his trouble.  Jean, on\nthe verge of tears, sank down beside him, but Ellen, thinking to\nrelieve him, ran to the living-quarters back of the store to get a pair\nof pinchers from Decitan.\nWhen she returned she stood a moment half-concealed by the curtain in\nthe doorway.  Jean was soothingly stroking one of Kobuk's big paws.\nNear her stood the White Chief who evidently had just come in.  Both\nthumbs were hooked beneath his scarlet belt, and he was looking down at\nthe dog.  Kobuk at that moment lowered his head and tried to work\nhimself farther back in his corner, but the effort brought out another\nyelp of pain.\nThe man's eyes became mere slits.\n\"Ah, damn you, so you've done it again, have you?\" he said with a\nsoftness that in some indefinable way chilled the blood.  \"Well, this\ntime we'll let the quills work through your brainless skull--or--\nHere, Hoots-noo--\" he turned to the Indian who was entering the store.\n\"Take this cur out and shoot him.  I'm tired of having quills yanked\nout of him.\"\nWith a cry of protest Jean came to her feet.\n\"Oh, no, no!  Please!\"  Apparently forgetful of all but the safety of\nthe dog, the girl clasped both her little hands about the man's arm.\nHer hazel eyes pleaded.  Loll, too, was clinging to the trader's other\nhand, stroking it and looking up beseechingly into his bearded face.\n\"Oh, Chief, please, _please_ don't shoot Kobuk!  We want him!  We'll\ntake care of him!\"\nThe White Chief paid no attention to the boy, but he looked down into\nthe face of the girl and laughed unpleasantly.\n\"The little squaw with white feet can be very nice to me when she wants\nsomething,\" he said.  \"What are you willing to give me for Kobuk, my\nlittle lady?\"\nAt his tone the girl shrank back, but Loll, sturdily refusing to be\nignored, interrupted hastily:\n\"_She_ ain't got nothing you want, Chief!\"  He began tugging\ndesperately at a string about his waist which bound to him his most\ncherished possession--an old broken revolver bestowed on him by Kayak\nBill.  \"Here, I'll give you my pistol for Kobuk!\"  The earnest little\nfellow held out the weapon with an air of certainty which indicated\nthat there could be no refusal of such a treasure.\nThe White Chief sat down leisurely on a box of pilot bread as if to\nbetter enjoy the situation.\n\"No, my boy,\" he said with another laugh.  \"Your disdainful aunt is\ngoing to pay me for Kobuk in coin which you will learn more of bye and\nbye.\"  He turned to the girl.  \"I'm not such a bad fellow, Jean,\" he\ncontinued with an attempt at an ingenuous smile.  \"Come, kiss me once\nand the dogs is yours.\"\nOver Jean's face swept conflicting emotions, disgust, contempt for the\nman, pity for the moaning dog whose life depended on her decision.  The\nIndian, stolid and unseeing, had already laid a hand on Kobuk's collar.\nEllen, unable to remain silent longer, started forward unnoticed by the\nothers in the tenseness of the moment, but before she had taken two\nsteps Loll had taken charge of the situation.\nGoing close he rested a hand on either knee of the trader and looked up\nearnestly into the man's pale eyes.\n\"Chief,\" he spoke half-apologetically as man to man, \"you see Jean--\"\nhe indicated his aunt with a tilt of his head--\"Jean doesn't like to\nkiss strange men--but I don't mind.\"  And before anyone realized what\nwas happening, the boy had taken Kilbuck's face between two small hands\nand pressed cool, childish lips to the man's forehead.\nJean caught her nephew in her arms impulsively.  \"You darling!\"  Half\nlaughing, half crying she buried her face in his neck.  \"You darling!\"\n\"Well, that's settled!\" said Loll in his matter of fact tones as he\nwriggled to free himself.  \"Kobuk's ours now.  Thank you, Chief.  I'll\nhave--\"  He broke off with a shout to welcome Ellen, whom he had just\nseen.  \"Hey, mothey!  He's ours now.  Gimme the pinchers!\"  He took\nthem from Ellen's hand and started toward the quill-filled Kobuk, who,\nsensing perhaps a change in his fortunes, had risen expectantly to his\nfeet.\nShane, entering the doorway at that moment, was apprized of the\naddition to the family.  The next two hours were spent by the Borelands\nin extracting quills from the repentant Kobuk.  For the first time in\nhis life, perhaps, the pain-racked animal was soothed and cheered\nduring the hated operation by quaint old Irish terms of endearment,\npunctuated with advice.\n\"But there'll be no more porky hunting for you, me lad,\" Shane assured\nthe dog as he pulled the last quill.  \"For the very first fine day we\nhave we're off for the Island of Kon Klayu and divil a thing you'll\nfind there to chase but sand fleas!\"\nCHAPTER IX\nHARLAN WAKES UP\nGregg Harlan had watched with interest the Boreland's preparation for\ndeparture to the island of Kon Klayu.  For the first time in his life\nhe was doing some serious thinking; and ever since the Potlatch he had\nbeen seeing himself in no complimentary light.\nHis chief source of self-disgust was his way of taking the information\nthat the Borelands, including Jean Wiley, thought him a squaw-man.  In\nhis dejection his thoughts went back time and again to those few\nmoments of silent companionship when he had stood beside the girl in\nthe dusk and watched the funeral canoes come in. . . .  Why hadn't he,\nafter the White Chief told him of his reputed connection with Naleenah,\nwhy hadn't he followed Jean and explained?  True, the shock and\nsurprise of the thing had momentarily swept him off his feet, but why\nhad he, in foolish reckless resentment against unjust circumstances,\nrushed off instead to the cabin of Kayak Bill and taken glass after\nglass of the stuff that had put him in such a state of oblivion that he\nwas unable to take any part in the Potlatch festivities?  Since then he\nhad been too ashamed to approach either of the white women.  He felt\nthat he must first do something to win their respect.\nDuring his twenty-five years Harlan had been a drifter along the\npleasant ways of least resistance.  This was, perhaps, because he had\nnever been called upon to shoulder responsibility.  Six months before,\nbecause of this tendency more than because he had been in love, he had\nfound himself involved in a foolish but unpleasant financial tangle\nbrought about by a plump, perfumed, pleasure-loving little blonde.\nThis small person from an eastern state had made his former knowledge\nof the hectic night-life of San Francisco seem but a tuning up of the\norchestra before the overture. . . .  After the inevitable parting of\nthe ways, he had found himself obliged to call upon his irate and\ndisgusted father for financial assistance.  He had done this often\nbefore--so often that this last episode, more scarlet than any of the\nothers, brought about a crisis.  Later, penniless, but debtor to his\nfather only, he had departed under a cloud of paternal disapproval to\ntake the position of bookkeeper at faraway Katleean.  It was then that\nhe decided he was through with women.\nAt the time he believed it, as all men do who make a similar decision,\nbut up here in the North he found that a white woman meant more to men\nthan in the States.  After three months in Katleean a white woman had\ncome to stand for the cleanness and the decencies of life.  He found\nhimself longing to be near and speak to these two visiting women of his\nown kind.  He had heard of the \"woman hunger\" of Alaska and recognized\nin himself the symptoms of that state which causes even the most\nhardened misogynist to travel a hundred perilous miles merely to look\non a white woman's face and hear her voice.\nAnd music--the music of Jean's violin drew him like a magnet.  Every\nevening when she played on the afterdeck of the _Hoonah_ he slipped\ndown to the Point beyond the Indian Village and listened--listened\nhungrily, with a longing to join her and explain his stupid innocence\nin connection with the dead Naleenah.  His youth called to hers, and he\nwanted this clean-hearted girl to think well of him.\nHis drunkenness--but of course there was no excuse for that.  He\ndespised weakness in a man, and he had thought a good deal about his\nown of late.  The episode of Naleenah had brought him face to face with\nthe grim realities attending his drifting.\nSometimes when he looked at Silvertip, lolling brutish and drunken on\nthe blankets of his bunk, Harlan had wondered what alcohol did for the\nsquaw-man.  Once he had tried to outline to the one-time cook of the\n_Sophie Sutherland_, the beauties, as _he_ saw them, of getting drunk.\nHe recalled now his sensations from the moment the alcohol began\ncreeping through his veins, softly, warmly, creating a glow about his\nheart.  Vistas then opened up before him.  Romance and adventure\nbeckoned him. . . .  Later, when the stimulant reached the centers of\nhis brain, like the sentient fingers of a musician touching the\nkeyboard of his soul, it produced golden harmonies from those keys\nwhose tones are love, rhythm, color, appreciation of the beautiful:\nInhibitions melted away in the amber light that enfolded him.  Lovely\nthings he had read or seen or thought and kept to himself for lack of\nexpression formed themselves into words of exquisite simplicity that\nwere to his ear as pastel shades to the eye.  He could sing then, as he\nnever sang at other times.  Music that was felt, rather than heard,\nswayed him, and his feet, his hands, his whole body longed to dance and\ninterpret this rhythm of the universe.\nAfterward came oblivion, a sweet forgetting of all unpleasantness, a\ndivine sense of mingling without responsibility with the elements.\nBut lately, he admitted reluctantly to himself, even in his moments of\nkeenest alcoholic pleasure, he had been aware of an underthought that\nhis exalted mood must pass leaving him more colorless, more listless,\nmore inclined to drift than before.  It took more of Kayak's whisky to\nproduce an effect now than it had in the beginning.  Perhaps, in time,\nhe might even grow to be like Silvertip. . . .  He shuddered.  It\nsickened and dismayed him to realize how the pale liquor had already\nenslaved him--to what it might lead him.\nAnother thing troubled him also.  Ever since the night of the Potlatch\ndance which he had been too intoxicated to attend, something vague but\ninsistent at the back of his consciousness strove to make itself\nremembered.  Something he had heard in a half-drugged sleep.  Something\nabout gold and Kon Klayu.  An idea persisted that on him depended some\ngrave issue, but strive as he would he could not remember what it was.\nOnce, as he swam in the dawn below the Point in an effort to clear his\ncloudy brain, he prolonged his course until he found himself close to\nthe hull of the _Hoonah_.  It gave him satisfaction to find that\ndespite three months of heavy drinking at Katleean, his daily plunge in\nthe sea had kept him physically fit.  He looked at the trim little\nschooner cradling her sleeping crew.  Green wavelets lapped against the\nclean white side, and below the water-line the red of the bottom\nglimmered.  Her upcurving prow seemed to urge to sea adventures.  He\nwished he might go with Boreland to spend the winter on the Island of\nKon Klayu.  But this, he knew, was not possible.  He had work to do at\nKatleean and it was time he was beginning it.  And Ellen Boreland--he\nwas not unaware that she disapproved of him and did her best to keep\nher sister from friendship with him. . . .  But--he might make the trip\nto the island and back to help Silvertip, whom Kilbuck had detailed to\npilot the _Hoonah_ to Kon Klayu.  Silver was not fond of work.  He\nwould welcome the extra help in bringing the vessel home again from Kon\nKlayu. . . .  Kon Klayu!  The words tantalized him afresh with his\nfailure to remember the thing he should.  Perhaps the sight of that\nmysterious island, though he had never seen it, might bring back to him\nthe memory he sought. . . .  He decided suddenly.  When the _Hoonah_\nsailed for the Island of Kon Klayu he would be aboard, even though he\nhad to go as a deck hand!\nCHAPTER X\nTHE PIGEON\nA morning came favorable for the departure of the _Hoonah_.  Sunshine\nflooded the peaks, the hills, the post of Katleean.  A stiff easterly\nbreeze ruffled the bay into pale golden-green, and overhead long,\nwhite, scarf-like clouds streaked the blue.  \"Mares' tails\" Kayak Bill\ncalled them, as he stood on the beach shifting his sombrero forward\nover his eyes so that he might better engage himself in what is known\nin Alaska as \"taking a look at the weather,\" a proceeding which becomes\nsecond nature to those who live in the North where travel depends on\nwind, tide and atmospheric conditions.\nThe time of saying good-bye was at hand.  Silvertip, with one of his\ncountrymen and Gregg Harlan were already aboard the schooner.  The\nWhite Chief stood on a driftlog watching Boreland load the last trifles\ninto a whale-boat some hundred yards below him.  One hand was hooked\nbeneath the trader's scarlet belt; the other held an unlighted\ncigarette.  The wind ruffling the long dark hair on his bare head gave\nhim a lean and savage look.\nKayak Bill, who had been unusually silent all morning, left off\nsearching for weather signs, and sauntered over to him.  His eyes\nnarrowed slightly as he looked keenly into Kilbuck's face.\n\"Chief,\" he said nonchalantly, as he drew his pipe from the pocket of\nhis mackinaw, \"you and me's grazed conside'able on the same range.  We\nain't never got in each other's way. . . .  There's some things about\nyou I ain't no nature for a-tall--but you been purty square with\nme. . . .  Likewise I'm not goin' round tellin' all I know about you.\nEverybody to his own cemetery, I say.\"  The old man took his pipe from\nhis mouth and faced the trader again.  \"But before I go a-rampin' off\non this vacation o' mine, I want to say this, Chief: I'm not knowin'\nnothin' but hearsay about this Island o' Kon Klayu--but--yars ago I\nlost out in the matter o' family and I'm thinkin' a heap o' this\nBoreland outfit now.  I'm trustin' to you, Chief, not to ring in no\ncold deck on 'em--or me.  I'm figgerin' on seein' you at the Island o'\nKon Klayu in about six weeks with the balance o' the grub.\"\n\"You needn't be so all-fired serious about it, Kayak.  I'll take care\nof the grub all right.  You say yourself that I've always played fair\nwith you.\"\n\"Yas, Chief,\" drawled the old man, \"but they ain't never been no women\nin the game before.  Women and dogs is hell for startin' trouble.  I\nain't blind, Chief.  I can still see offen the end o' my nose.\"\nThe trader laughed abruptly.\n\"Well, old timer, you seem to be seeing off the wrong side this time.\nDon't you worry, Kayak.  I'll be along and get you about the middle of\nOctober.  Your revenue cutter friends will be gone by that time.\"\nKayak Bill was silent for a moment.  Then with seeming irrelevance he\nsaid slowly:\n\"One time . . . a long spell back . . .  I knew a woman . . . and a\nman.  He cheated her, and--wall, I shot him dead . . .\"\n\"Hey, there, Kayak!\" came Boreland's shout from the whale-boat.  \"Come\nlend a hand here a minute, will you?\"\nKayak Bill waited a moment.  Then shaking the ashes from his pipe he\nrestored it to his pocket and plodded down to the boat.\nFarther along the beach a little group of Thlinget women had gathered\nabout Ellen and Jean to bid them good-bye.  Senott, self-appointed\nspokeswoman for her shyer sisters, was shoving forward a plump,\ngood-natured looking squaw, who handed Jean a pair of hair-seal\nmoccasins and a small Indian basket.\n\"She potlatch you,\" explained Senott, supplementing her\nwords with eloquent eyes and hands.  \"She like you,\nGirl-Who-Make-Singing-Birds-In-Little-Brown-Box.  She Add-'m-up Sam\n'ooman.  She go Kon Klayu long time ago.  She sorry you go.  No river\non dat island.  No salmon, no tree, no mans.  Only b-i-g wind!  B-I-G\nsea!  She sorry you go.\"  The plump widow stood by shaking her head and\nmaking soft clucking sounds in her throat.\nLeaving Jean to thank their Indian friends Ellen slipped through the\ncircle.  Her conventional training evidently asserted itself, for she\nturned now and went to say a few words of good-bye to their host.\nShe looked singularly small and attractive as she stood before him, her\nblue eyes raised to his face, the sea-wind blowing her hair across the\npink of her cheeks.  The trader stepped down from his log to greet her.\n\"I wondered if you would say good-bye to me without the presence of\nyour whole family,\" he said softly, bending his head.  Many a squaw in\nKatleean, after incurring his displeasure, had seen the same expression\nin his eyes just before he struck her in the face with the flat of his\nhand.  \"One might almost think you are afraid of me.  But . . . though\nyou will not stay at Katleean, I'll always have something to remind me\nof you.\"  He slipped a hand into the pocket of his flannel shirt and\nthe sheen of Ellen's stolen lock of hair caught the light for a moment\nbefore he buttoned the flap over it again.\nEllen, with a few stammered words, was backing away from him, her wide,\nfearful gaze fixed on his face, when he reached out, and as if merely\nto shake her hand in farewell, laid his iron fingers over hers in a\ngrasp that made her wince.\n\"Just a moment, my frigid little Lucretia.\"  He spoke hurriedly: \"I'm\nletting you go now because the time is coming when you'll want me.\nWhen you get aboard the schooner you'll find I have presented your son\nwith a pigeon.  Take good care of it.  It was hatched here--and it's\nyour only means of communicating with the mainland.  And listen--\" he\nleaned down almost whispering the words--\"When I want a squaw, I get\nher.  When I want a white woman, I get her.  Remember the pigeon.\nYou'll want me.  The pigeon, loose, comes back.  I shall understand!\"\nHe laughed, as if sharing with her the humor of some vile joke.\nEllen shrank back, her face flushing with outraged helplessness and\nshame.  She wrenched her hand free.\n\"All aboard!  All aboard for Kon Klayu!\"  The cheery voice of her\nhusband rang out.  She turned from the White Chief and ran.\nThe natives came forward in a crowd.  Jean free-stepping, wind-ruffled,\nmet her halfway, and seizing her hand, the two hurried down to the\nwhale-boat.  Friendly native hands shoved the boat off amid shouts of\ngood will and good-bye.\nThe rattle of the anchor-chain sounded as they boarded the _Hoonah_ and\nmade the tow-line of the whale-boat fast to the stern.  The sails were\nhoisted and a moment later the little craft listed slightly as she\ncaught the breeze.  The entire population of Katleean waving farewell\nfollowed along the beach past the Indian Village and down to the Point.\n\"Good-bye!  Good luck!\" shouted the few white men on the shore.\n\"_Tay-a-wah-cu-sha_!  _Tay-a-wah-cu-sha_!\" echoed the plaintive Indian\nvoices.\nFrom the top of the cabin the Borelands waved back as the _Hoonah_\nrounded the wooded point that shut out even the smoke from the\ntrading-post.\nSea-gulls white as the bellying sails, tilted against the wind in the\nsunshine.  A wedge of wild geese honked high on their way to southern\nlands.  Countless sea-parrots squattered away from the schooner's path,\ndragging their fat, black bodies in splashing clumsiness across the\nwater.  The wind freshened and the rigging strained and creaked as the\n_Hoonah_ swung to the long, wrinkled swells of the open sea.  Driven\nahead by the breeze she dipped and splashed sending showers of whitened\nwater away from her prow and leaving a wake of foam-laces behind her\nlike a veil.\nAlready the adventurers had left behind the creatures of their kind,\nfor Silvertip at the wheel was headed out into the lonely North\nPacific, laying his course for the Island of Kon Klayu.\nPART II\nCHAPTER XI\nTHE ISLAND OF THE RUBY SANDS\nNext morning the schooner was rolling easily on a long swell.  Through\nthe open hatchway the sun streamed down into the hold where Harlan lay,\nand as he awoke, the appetizing fragrance of boiling coffee drifted in\nto him from the cabin in the stern.  Above the calls and the sound of\nfeet on deck came a thin wild chorus which he had learned to associate\nwith the island nesting grounds of thousands of sea-birds.\nHastily slipping into his clothes he climbed to the deck and looked\nabout him.  The _Hoonah_ was riding at anchor--ninety miles out at sea!\nThe morning air of sea-swept spaces filled his lungs with freshness.\nOn three sides the sun-silvered green of the ocean fairly sang to the\neye as it rolled away to meet the far blue of the horizon.  Half a mile\noff the starboard bow, edged by lines of breaking surf, sand-dunes\ntopped with green merged gradually southward, into strange jade-green\nhills, low and soft as brushed velvet in the distance.  To the North\nthe dunes tapered to a long, narrow shoal over which, as far as the eye\ncould reach, swells of clearest emerald broke into a splendor of flying\nspray.\nAbove this sand-spit thousands of gulls flashed, skirling and\nscreeching in the sunlight, their weird, thin calls mingling with the\ndiapason of the surf that boomed against the beach and the hundred\nreefs of Kon Klayu.  Overhead a constant stream of gulls and\nsea-parrots plied between their fishing grounds and the south end of\nthe island where they had their young.\n\"By Jove, it's a regular little island paradise?\" Harlan called to\nKayak Bill.  \"How comes it that everyone is afraid of such an inviting\nlooking spot?\"\nKayak, who was picking his way forward to where Boreland was already\nbusy with the outfit, paused and leaned a moment against the main-mast.\nHis eyes with one slow glance took in land and sea.\n\"Wall, son, I reckon she's somethin' like a pussy-cat.  She's a-smilin'\nand a-purrin' in the sun today, but I'm thinkin' when it blows up a\nsou'easter, with nothin' in God's world a-tween here and Honolulu to\nstop the sweep o' it, she shows every one o' her reefs like a cat\nbarrin' her claws.\"\nKayak Bill looked about him once more before striking a match to light\nhis pipe.  Then drawling something about the \"ox-wee-nee-chal\" gales,\nhe passed on to the bow of the schooner, leaving Harlan smiling.\nSilvertip and his mate were kneeling in the stern, both busy with the\npully-blocks that held the steering cable of the _Hoonah_.  Their low\ntones did not carry beyond a few feet.  Silvertip slanted uneasy\nglances in the direction of the foaming shoals that ran far out into\nthe sea.  His helper, evidently disagreeing with him on some point\nshook his head.  Harlan caught something about fog and getting off the\ncourse in the night.\nAt last the man burst out:\n\"By yingo, I tank we are on wrong side of----\"\n\"Shut up, you tarn squarehead,\" snapped Silvertip, with a glance in\nHarlan's direction.\nThe man made a gesture as if he washed his hands of the whole affair,\nthen raised his head to look about him.  A dark streak far toward the\nsouthern horizon indicated a breeze from that direction.\n\"I guess we haf a beam wind home,\" he announced.\n\"Yas, tank God,\" assented Silvertip, with a last look at the rudder\ncable.  \"Ant as kwicker ve leaf dis de'th trap, as better for me.  She\nblow up gale har in turty minutes.  Ven Ay vas cook on _Soofie\nSuderlant_----\"\n\"Breakfast is ready, men!\" interrupted Ellen's clear voice from the\ncabin hatchway.\nThe Swedes came to their feet and after a moment of whispered\nconversation, joined the others in the cabin.  Half an hour later, when\nBoreland and Silvertip came on deck again, the breeze had freshened\nslightly and the sailor looked about him in a restless and worried\nmanner, his glance finally lingering on the sand-spit.\n\"Borelant, Ay tank ve lant you har right avay kwick.  Ay tank she blow\nby an' by like hal.\"\nShane, glancing at the clear sky and the sun-kissed waves, laughed.\n\"Nonsense, Silver!  The island's got you buffaloed, just as it has all\nthe sailors in this section. . . .  But it's up to you.  I'm ready to\ngo ashore any time you say.  The sooner you land me and show me our\ncabin, the better I'll like it.\"\nThe whale-boat at the stern of the schooner was drawn alongside, and\nanother which had been carried on the forward deck was lowered.\nThe first one loaded, Kayak Bill and the two Swedes climbed down into\nit and shoved off from the side.  Boreland and Harlan, loading the\nsecond one, stopped in their work to watch them.\nTossing up and down on the long, green swells, the moving boat drew\nnearer and nearer to the foaming lines of surf.  Presently they were in\nthe welter of white.  Once when the little craft went completely out of\nsight behind a monster swell, Loll, watching from the cabin top,\nshouted in alarm, but yelled again in delight as it rose high on the\nsame billow.\nSilvertip and his mate bent to the long oars.  In the stern Kayak Bill,\nhatless and wind-blown, steered wisely over the rollers which\nthreatened to break on them any moment.\nIn profane admiration Boreland watched.  \"It's the ninth wave,\" he\nshouted presently.  \"Kayak'll take her in on that one. . . .  By\nthunder!\" he broke out as the boat rushed toward the shore in a smother\nof foam, and landed well up on the beach, \"if that old cuss could rope\na steer as well as he can land a boat in a surf, I wonder that they\never let him out of Texas!\"\nThe work of landing the outfit went steadily on and with each trip to\nthe beach Silvertip urged more haste.  Tides, currents, quick-rising\nfogs and gales, and the extreme danger of the anchorage--these were the\nburden of his conversation.  Since he was the only one in the party who\nhad been on Kon Klayu before they were obliged to accept his reasons\nwithout argument.\nDespite haste, however, it was late afternoon when the last boat-load\nwent ashore.  Turning from his contemplation of it, Gregg Harlan looked\ndown ruefully at the water-blisters that decorated the palms of his\nslim hands.  He was spending the most arduous day of his life.  He was\ntired.  Every muscle in his body ached from the heavy work of handling\nthe outfit and in his mind was a weariness slightly tinged with\nbitterness.\nIt was not until he saw Ellen and Jean in the departing whale-boat that\nhe realized how much he had counted on the few hours of their\ncompanionship aboard the _Hoonah_.  With Loll he was on friendly,\nalmost brotherly terms, because of his sincere appreciation of Kobuk\nand the boy's new pigeon.  But as for anything else--he smiled now a\nlittle bitterly as he recalled Ellen's polite but wary treatment of\nhim, and the seemingly casual way in which she managed to prevent any\ninterchange of thought between himself and her young sister.  He\nfancied Jean felt this also and resented it, for several times during\nthe day, across the confusion of the deck, her eyes had sought his and\nin the meeting there was a warming sense of intimacy.\nBut she was gone now.  He would never see her again.  He had handed\ndown her violin as she reached up from the tossing whale-boat to\nreceive it.  He remembered her firm, boyish hand-clasp as she said\ngood-bye to him.  Was there regret in her eyes at the separation, or\nhad he imagined it?\nGregg leaned wearily against the cabin looking toward the shore.\nEverything seemed to have gone wrong for him today.  He had intended\ngoing in with the last load for an hour's stay on the Island, but\nSilvertip, fearing that the wind might grow stronger, had insisted on\nhis remaining behind to watch the schooner.\nThrough the glasses he could see Loll and Kobuk racing up and down the\nbeach now.  Jean and her sister sat, somewhat forlornly, he thought, on\npart of the outfit piled up on the sand.  The men had gathered about\nthe whale-boat which was to be left on the Island, and were drawing it\nup higher on the shingle.\nIt would be an hour or more before the Swedes returned to the _Hoonah_.\nGregg looked out across the rolling, endless ocean.  Although the sun\nwas yet shining brightly there was a feeling of evening coming on.  The\ncries of the gulls seemed to have taken on a tone of infinite sadness.\nAll at once, for some inexplicable reason, he was overwhelmed by a\nsense of the futility of life--of living.  No quest seemed worth\npursuing.  No dream worth dreaming.  He had often felt this way during\nthe past three months, and when he did--he drank.  He longed, with\nsudden intensity, for a bottle of Kayak's clear, white brew.  Alcohol\nwas the magic brush that transformed the monotone of life into shades\nof wondrous hue.\nHis dejection was deepened by the fact that ever since leaving Katleean\nhe had been trying vainly to recall that thing he should remember.\nWhile he strained and sweated over the loading of the outfit, his mind\nhad been busy seeking, searching, trying to pierce the curtain of\noblivion that separated him from that subliminal self who knew the\nthing he wanted.  He felt as though he were being tantalized.  It was\nalmost the same feeling he remembered having in boyish dreams that came\nduring examination time, when the answers to dream questions flashed in\nhis mind for a moment then diabolically faded before he got them down\non paper.\nAfter a while his unseeing eyes left the water.  He gingerly felt the\nblisters on his hands and shook his head with a half-contemptuous,\nhalf-humorous smile at himself.  Then restlessly he began to pace the\ndeck.  If only he had something stinging--something stimulating to\ndrink!  But the White Chief had seen to it that there was nothing\nintoxicating aboard the _Hoonah_.  It would be eighteen hours at least\nbefore he could hope to be in Katleean where Kayak Bill had left a\ngenerous supply of hootch stowed away in the top bunk of his cabin.  In\nthe top bunk----\nHe stopped short.  From some remote corner of his brain there had come\nto him one of those inexplicable flashes of memory that revealed,\nunbidden, the thing he had struggled so hard to remember!  In a moment\nhe was back in Silvertip's top bunk the night of the Potlatch dance.\nThe voice of the White Chief came back arguing, commanding,\nthreatening.  The whine of Silvertip protested, and finally assented.\nAs a realization of what this conversation portended dawned on Gregg,\nhis blistered hands clenched.  Curs!  Cowards! to lend themselves to\nsuch a work of deception! . . .  The aroused young man tossed back his\nwind-ruffled hair and squared his shoulders.  He must reach Boreland\nimmediately; must tell him what he knew before the Swedes left the\nbeach of Kon Klayu.\nHe sprang to the starboard side of the schooner and trained the glasses\non the shore.  The men were gathered about the whale-boat talking.  He\ncould see Silvertip's hand emphasizing some statement as he pointed to\nthe hills.  Gregg knew that once the Swede left the beach, he would\nnever return to it.  He had landed his party and his work was done.\nDesperately Harlan longed for some kind of craft in which he might\nreach the shore before the sailors left it.  There was none.  For a\nmoment he considered waiting until they came aboard.  But could he,\nsingle handed, force them to return for the Borelands? . . .  No, the\noutcome of such a course was too uncertain.  Something must be done at\nonce.\nThere was only one other way in which he could get word to the\nadventurers.  His eye measured the heaving, foam-streaked distance\nbetween him and the beach.  Could he make it?  A year ago in the\nStates, before drink had gotten such a hold on him, that half mile\nwould have meant nothing to him--but now . . .  Temperature, unknown\ncurrents, undertows must be reckoned with here.  Again, shaking him\nwith its intensity, returned the intolerable craving for a drink.\nHis eyes once more swept the long line of breakers.  If he would warn\nthe Borelands he must do it at once!  He must make that half mile\nbefore Silvertip left the beach. . . .  He would do it!\nEven as he decided he had torn open the front of his shirt.  Swiftly he\nstripped to his underwear and the next instant had dived over the side\nof the schooner.\nHe came sputtering to the surface.  Contrary to expectations the water\nwas much warmer than that at Katleean.  With a feeling of relief he\nstruck out for the beach.\nHe had not gone thirty yards when he became aware that a strong current\nwas carrying him toward the south end of the Island.  Desperately he\nput every ounce of his strength into his shoreward strokes.  The\nbuffeting of the running chop sea began to tire him.  He was becoming\nwinded.  He was losing his sense of direction.  After ten minutes he\nrealized, with alarm, that he could never make a landing, near\nBoreland's outfit. . . .  Five minutes more and he knew he would be\nlucky if he made any landing at all. . . .  The current was sweeping\nhim on toward the cliffs at the south end of Kon Klayu where black\nreefs bared their fangs in a welter of foam.  Even in the smother of\nthe chop he was aware of the increased roaring of the breakers.\nHe made one mighty, but ineffectual effort to reach the shore, then\nwith a feeling of baffled despair he turned his back on the breaking\nsurf and began to fight his way, inch by inch, back to the safety of\nthe _Hoonah_.\nCHAPTER XII\nTHE LANDING\nOn the beach the last sack and box had been carried up to a place\nselected by Silvertip as being above the high-tide line.\n\"Well, old man, I think we'll take a stroll around and see where that\ncabin is located,\" said Boreland cheerfully.  \"It can't be far from the\nanchorage here.\"\n\"No, no.  Youst a little vay.  Youst a little vay,\" hurriedly answered\nSilvertip as he waved an indefinite hand across the dunes.  \"You'll\nfind it so easy you don't need me.  Ay tank she makes a big vind in the\nsout'vest, so Ay go before a heavy sea coomes.\"\nThey talked about the island anchorage for a few minutes.  Boreland\ninsisted that the breeze would die down at sunset as is often the case\nduring good weather, but Silvertip persisted in his determination to\nget away from the Island at once.\nFinally Shane turned to Kayak Bill with a somewhat contemptuous laugh.\n\"What do you say, Kayak?  This fellow seems scared to death to stay\nhere any longer.  I reckon we can get along without him now, don't you?\"\nKayak Bill spat meditatively at a knot of brown kelp.\n\"Wall, we _mout_ be a-makin' a false play, but--durn the critter\nanyway, Shane!  He ain't got no more backbone than a wet string!  He's\nbeen in a hell of a stew ever since we got here about this storm\na-brewing and it's beginnin' to roil me just havin' him pesticate\naround.  Let him go.\"\nDuring the conversation Silvertip's pale eyes had been shifting back\nand forth between Boreland and Kayak.  If he resented Kayak's\ndisparaging remarks he made no sign.  When the old man finished he\nbegan moving swiftly toward the whale-boat where his mate was adjusting\nthe oar-locks.\nFive minutes after a last hurried direction relating to the location of\nthe house, he and his partner were making their way out over the\nbreakers to the _Hoonah_.  Shane and Kayak started out at once to look\nfor the cabin in which they intended to sleep that night.  As they left\nthey called cheerily to the women standing on the beach, but Ellen\nhardly heard them.\nAs the distance between the shore and the moving whale-boat lengthened\nshe felt a growing depression, a sinking of the heart.  She was filled\nwith a vast loneliness.  All about her and above her was illimitable\ndistance--ocean spaces green and rolling; sky spaces far and wide and\nblue; spaces through which the winds of the world swept unhindered;\nspaces filled eternally with the sound of the sea.  She was awed and\nsilenced by the immensity, the impersonality of it all.\nJean, too, was silent and meditative.  Ellen wondered if she were\nthinking of young Harlan.  That problem at least was solved, she\nthought with relief.  The girl came close and placed an arm about\nEllen's waist as if for the comfort her physical presence might bring.\nTogether they looked on while the _Hoonah_ got under weigh.  Flying\nbefore the wind it grew smaller and smaller in the distance.  The awe\nin Ellen's heart gradually gave place to an acute homesickness for the\ncomfort of the little craft that would be her home no more.  Time\npassed, and as she watched the topmast sail going down on the horizon\nshe realized, as never before, that the fate of herself and her family\nwas dependent solely on the White Chief of Katleean.  His word was law,\nhis power absolute.  She was aghast at her blindness in permitting the\nshaping of such a situation.  Blaming herself, she went over the events\nof the last two weeks step by step, perceiving too late what she would\nhave done, what she should have said to dissuade her husband from this\nlast mad venture.\nShe turned her eyes from the sea at last, resolving to shake off her\ndepression.  She must prepare to meet the future.  Jean had left her\nsome time before and was busy tucking her violin away more securely in\nits wrapping of silk.  Lollie kneeling before the cage in which his\npigeon fluttered experimentally was trying to force bunches of wild\npeas through the bars.  Ellen went close to the cage and looked down at\nthe bird.\nThere was something sinister in the gleam of the bright, beady eye it\nturned up at her.  The words of the White Chief came back to her.\n\"You'll want me. . . .  The pigeon loose, comes back.  _I will\nunderstand_.\" . . . \"You'll want me.\"  What had he meant by that?  The\npigeon--She looked down at it again thoughtfully.  That afternoon, in\nlowering the cage from the deck of the _Hoonah_ into the whale-boat,\nthe fastening had slipped and it had fallen into the sea, but\nSilvertip, by a quick movement, had grasped it before it sank.\nSuddenly Ellen found herself beset by two conflicting emotions--one\nmoment she wished it had gone down into the depths--the next she felt\nthat she must let nothing happen to this last, this only connecting\nlink with the mainland.\nShe was brought back to her surroundings by Jean's call, as the young\ngirl hailed Shane and Kayak Bill, who were coming toward them through\nthe tall rice-grass.  The faces of both men wore looks of unusual\nseriousness and there was no answer to Jean's greeting until they\nstopped beside the piled-up outfit.\n\"Oh, Shane, you didn't find the cabin?\"  Even as she asked the question\nEllen knew the answer.\n\"No, dear.  It doesn't seem to be at this end of the Island at all.\nBut--\" noting the dismayed faces of those about him--\"we needn't worry\nabout it.  We'll put up the tents here for the night and make an early\nstart in the morning.\"\nLoll had left his pigeon, and was listening, wide-eyed and serious.\n\"But what if there is no cabin, dad?\"  With child-like directness he\nvoiced the question that was uppermost in the minds of every other\nmember of the party on the tree-less Island of Kon Klayu.  In the\nmomentary silence that followed a gust of wind stirred the rice-grass\ninto questioning sound as the coarse blades swayed together.\n\"Oh, I know!\" the boy answered himself enthusiastically, \"we'll find a\ncave, of course, and live in it like Robinson Crusoe.\"\n\"Right-o, boy!\"  Boreland assented with a cheerfulness that did not\nescape being forced.  \"But just now we'll get busy making camp for the\nnight.\"\nTwo tents were pitched in the rice-grass at the edge of the beach.  On\na foundation of stones was set the small rectangular sheet-iron stove\nthat every gold-trail in Alaska knows.  Within the hour the shiny new\npipe was carrying a gay plume of smoke, and with the cheery crackling\nof the flames, the spirits of everyone rose; for the adventurer may\nwander where he will, but when he builds a fire--whether it be of\ncoconut husks on the rim of a South Sea atoll, or of drift-wood on the\nbeach of a northern sea, there comes a sense of home and comfort.\nBoreland, unpacking what he called the \"grub-box,\" volunteered to get\nsupper for the hungry band while they went in search of more driftwood\nfor the fire.  Leaving him busy with the frying-pan they headed\nnorthward toward the long sand-spit that pointed like an accusing\nfinger in the direction of the mainland ninety miles away.  Above the\nhigh-tide line the sand dunes were as powdery blue with lupine as the\nApril fields of California, and Loll's whooping investigation revealed\npatches of wild strawberries larger than those found at Katleean, where\nacres of them grow on the low sand hills along the sea.\nJean and Lollie lay flat on their stomachs filling their mouths and\ngrass-lined hats.  The bouquet of sun-warmed strawberries and the\nperfume of flowering lupine were wafted across the dunes in\nintermittent gusts of fragrance.  Ellen almost forgot her anxiety as\nshe picked the red-toned fruit and listened to the drawling voice of\nKayak Bill describing a cordial he had once made from the berries--a\nliqueur so subtle in its effects, so delicious and so warming that it\nhad melted even the heart of a revenue officer sent up from Sitka\nespecially to investigate him.\nLater when they returned to the tents with lupine-laden arms and hats\nfull of berries, there was in the air the good camp smell of\nfrying-bacon, warmed-over brown beans and bubbling coffee.  Boreland,\napparently in the best of spirits, was setting out the dishes on a\nclean piece of canvas spread on the sand.\n\"Get a move on, gang!\" he called.  \"Come and get it!  My stomach's\nfairly cleaving to my backbone!\"\nAs the adventurers ate, the sun, going down on the other side of the\nisland, tinted the sky with shades of wild rose and forget-me-not.  A\ncluster of tiny golden clouds floated high in the blue.  As the\ntrembling pearl of twilight came on, an occasional belated gull flew\noverhead with a single, gently-sad question.  The wind died away and\nthe song of the surf mellowed to a croon.\nAfter the dishes were done Ellen and Jean put Lollie to bed in the\nblankets spread in the larger tent while Boreland and Kayak Bill,\nsmoking and discussing the possibilities of the sands of Kon Klayu,\nsquatted about the drift-wood fire.  Presently Jean left her sister and\nstepped out into the gloaming.  She turned toward the south and walked\nalong the edge of the sea-drift.  The smooth hard beach was a lure to\nher feet.\nShe lifted her chin, breathing deeply and swinging her arms free as she\nwalked.  The air was faintly cool with the smell of the sea and with it\nmingled the multi-scented breath of northern Indian summer: lupine,\nsundried sand, beach grass and celery bloom.  Soft and dim and\nstrangely lovely dreamed this Island of the ruby sands.  From a shadowy\ngrove of alders inland came the three plaintive notes of a sleepy\ngolden-crown sparrow voicing the beauty, the mystery, the gentleness of\nthe North.  Enchantment broods in the twilight of Alaskan nights.  Jean\nhad felt it many times during the summer, and loved it--the vague, wild\nsense of romance in its dusks.  Tonight the thrill and promise of life\nseemed more poignantly sweet than ever before.  She longed suddenly for\nsome one to share this hour with her. . . .\nReluctantly, at last she turned from the dim beckoning distance, and\nretraced her steps.\nAs she neared camp, Kobuk, yawning, rose from his post by Ellen's tent,\nto greet her.  Boreland and Kayak Bill had gone to bed in the smaller\ntent, and about the greying embers of their bonfire, rubber boots\nstood, like grotesque plants, each one drying upside down over a stake\ndriven into the sand.\nJean undressed and slipped between the blankets beside her\nsister. . . .  The clean, fresh smell of trampled rice-grass drifted\nabout her pillow. . . .  As the tide came in the murmur of surf on the\ndistant shoals was soothing as a cradle song, and the girl, with a\ntired sigh, adjusted her body to the unyielding, sandy bed, and drowsed\noff into slumber, unaware of the peril that was even then creeping\nnearer and nearer to the sleepers on the beach of Kon Klayu.\nCHAPTER XIII\nTHE CABIN\nIt was long past midnight when Jean was startled into wakefulness.\nKobuk was barking with the queer, short woofs of the huskie, and\noutside the tent Ellen's voice fraught with fear and anxiety, was\ncalling:\n\"Shane!  O, Shane!  Wake up!  Quick!\"\nThere was a stealthy sound as of lapping water close at hand; then\nBoreland's shout:\n\"For God's sake, Kayak, get up!\"\nJean, now fully awake, ran out into the grey that precedes the dawn.\nThere was not a breath of wind, and the sea, glassy and as grey as the\nsky above, was smoother than she ever saw it afterward on Kon Klayu.\nThere was something sinister in the gently heaving stillness of the\nvast body of water, for not ten feet from the flap of the tent tiny\nripples of the incoming tide were swallowing at the dry sand with\nsibilant softness.  One end of the pile of provisions just below the\ntent was already a foot deep in the advancing flood.\nThere was no thought of dressing.  The race with the sea began at once.\nNo one knew when the tide would be full, but each realized that should\nthe provisions be ruined or swept away by the water, slow starvation\nwould terminate the quest for the gold of Kon Klayu.  Every moment\ncounted.  Every hand must help.\nGrim-faced and silent, Boreland and Kayak Bill drew on their tremendous\nreserve power, and during the next few hours performed almost\nsuper-human feats of strength and endurance in transferring the\nprovisions to safety.  Ellen and Jean, regardless of unbound hair and\nthin night-robes, dashed out time after time into the ever rising tide\nto snatch up sacks of flour or boxes of canned goods, running with them\nfar above the beachline.  In the face of the threatened catastrophe\nthey were hardly aware of wet or cold or the weight of objects.  They\nwere small women, but in the peril of the moment they carried\nback-breaking loads that would ordinarily have taxed the muscles of a\nstrong man.  Even Lollie, after the first look of sleepy wonder, became\nalive to the situation when he saw his new pet, the pigeon, clutching\nthe top of its cage above six inches of water.  He rescued the bird and\nwhile the others were busy with the outfit, rolled up the blankets one\nby one, and carried them beyond danger.  Before he had finished, the\nrelentless tide had crept up about the stove, the box where all the\ncooking utensils had been placed, and the four rubber boots drying on\ntheir stakes.  The little fellow, looking absurdly babylike in his\nnightgown, for all his eight years, splashed out to rescue the\nthreatened articles.  Later, at a word from his father, he gathered\nsome high-thrown drift-wood to make the fire, by that time sorely\nneeded by all.\nThe sun was coming up radiantly over the edge of the ocean when they\nfinished their labors.  Though nothing had been carried away, the tide\nhad risen two feet after discovery, and a third of the provisions was\nwet.  Silvertip, in his haste to get away from the Island had landed\nthem on the tide lands.  As they afterward learned but one or two tides\na month reached that particular level, but the Borelands had\nencountered one of them.  Had there been any sea on whatever that night\neverything would have been swept away, leaving them destitute, even if\nthey had escaped with their lives.\nThe sun and a good, hot breakfast warmed and cheered everybody.\nBesides there was little time to discuss their escape, since every wet\ndunnage bag and box had to be unpacked and the contents spread out in\nthe sun to dry.\nIn making her round of the salvage, Jean came upon the box containing\nthe old magazines and books from the collection of Add-'em-up Sam.  It\nhad been wetted on one end.  Taking out the top layer of books she\npaused over the tattered volume of _Treasure Island_ to put into place\na crumpled paper which protruded from beneath the cover.  To her\ninterest she found it to be the crude drawing of Kon Klayu which she\nhad hastily thrust back that afternoon at Katleean when the\nquill-filled Kobuk had come cowering to her feet in the store.\n\"Shane,\" she called, waving it in front of her, \"here's a little map of\nKon Klayu.  Maybe you might find out about the cabin from this.\"\nBoreland strode over to her and glanced at the paper.  Then he took it\nin his own hands and scanned it more closely, looking up at the\nlandscape, the sea, and the shoals off which they were camped.\nSuddenly his hand fell to his side, and with a great oath he began to\npace up and down the sand.\nThe others, dismayed, gathered about him.\n\"Why, Shane!  What is the matter?\" cried Ellen.\n\"Matter!\"  Anger flared in his brown eyes and his hand closed on the\nmap as if it had been the throat of an enemy.  \"Ellen, Silvertip lied!\nThat pale-eyed son of a sea-cook has landed us on the wrong side of the\nIsland.  He was too much of a coward to take the _Hoonah_ around the\nshoals.  Look at this, Kayak--\"  He smoothed out the paper so that his\npartner could see the lines.  \"According to this, the cabin is all of\nthree miles from here on the other side.\"\nKayak Bill took the map in his hands and held it for a long moment\nbefore his near-sighted eyes.\n\"By . . . hell!\" The words came slowly in a sort of whispered shout.\nThen as if unable to declare himself in the presence of the women,\nKayak, with a suspicion of haste in his going, sauntered off to the far\nside of a sand-dune, where he sat down and in the manner of the true\nAlaskan, drew heavily on his stock of profanity to express his opinion\nof all Swedes, Silvertip in particular, the country, and the blind\nProvidence that could create an island without a harbor.\nThe situation forced upon the party was a serious one.  It involved\ntransferring the entire outfit three miles to the cabin--if there was\none--over the soft beach sand that made their only means of\ntransportation, a wheelbarrow, utterly useless.  There were but a few\ndays during the year when a small boat, such as the whale-boat, could\nsafely circumnavigate the shoals at the north end and the reef-sown\nwaters about the Island.  Since this means could not be relied upon,\nthe two men were confronted with the necessity of packing on their\nbacks to the cabin every pound of provisions; and with the equinoctial\nstorms close at hand, every day counted.\nBoreland bit his lip in the effort to control the anger that burned\nwithin him as he realized that a month or six weeks must be spent in\ntransferring the provisions.  But there was no time to lose in cursing\nthe absent Silvertip; immediate action counted and he was never one to\nlet misfortune weigh long upon him.\nNoting the worried look on Ellen's face he crossed over to where she\nsat upon the opened box of books, and put his arms about her.\n\"Never mind, little fellow.  We'll come out all right.  The darkest\nhour always comes before the dawn,\" he said, laying his rough cheek\nagainst her hair.\nDespite her anxiety, a smile stirred the corner of Ellen's mouth as she\nheard this familiar bit of sentimental philosophy.  During the ten\nyears of her married life Shane had always been ready with these words,\nno matter what crushing calamity came upon them.  She patted his hand\nas she would have patted that of a child.\nLoll, with his fingers under Kobuk's collar, had been looking on, his\nlittle face unconsciously assuming the seriousness of those about him.\nHe turned now to greet Kayak Bill, who, apparently calmed and\nrefreshed, was wading out of the rice-grass.  The old man's sombrero\nwas cocked at a militant angle; his long raw-hide laces snaked along\nbehind his boots, and clouds of tobacco smoke enveloped him.\n\"Well,\" he said gently, \"I reckon there ain't no useless good\nvocabulatin' about that varmint, Silvertip.  I should a-known better'n\nto trust a man o' his moth-eaten morals, anyhow.\"\nEllen stooped down to pick up the map which had fallen unheeded to the\nsand.  For a moment she traced the beachline with her forefinger,\nreading the penciled names from the paper.  \"Sunset Point.  Skeleton\nRib. . . .  Well, at least we know where to look for the cabin, Shane.\"\nShe looked up decisively.  \"Let's find it before anything else happens\nto us.\"\nTen minutes later the two men had disappeared behind the western\nsand-dunes, and as if to assure them of his confidence in the future,\nBoreland's voice, raised: a quavering Irish melody floated back to the\ncamp where Ellen and Jean were spreading the blankets upon the sand.\nThey were weary from their night's work.  With Kobuk on guard they\ncurled up beside Lollie, and lulled by the far-away calls of the gulls\nand the ceaseless chant of the sea, were soon fast asleep. . . .\nThe hoo-hooing of Boreland and Kayak Bill two hours later awakened the\nsleepers before the men reached camp.\n\"Everything is lovely and the goose hangs high!\" Boreland cheerily\nanswered their questions.  \"We found the cabin all right and tonight we\nall sleep in our own little wickie!\"\nThe pale-green combers that were breaking for miles out on the shoals,\nmade it impossible to think of using the whale-boat.  Therefore,\nimmediately after lunch, the party started on the three-mile walk, each\none carrying a pack.  Jean, with her violin and a scarlet blanket\nstrapped across her strong young shoulders, stopped in the trail again\nand again to laugh at her smaller sister, nearly obliterated under two\nfeather pillows.  Loll, important as the head packer of a Government\nparty, carried a pot of cold beans in his hand, and encouraged Kobuk,\nwhose pack-saddle was filled with necessary odds and ends for the\nnight's camp.  The sheet-iron stove, with food and cooking utensils\ninside, made a noisy, rattling pack on Boreland's back, leaving his\nhands free for his shot-gun which he carried for the ducks that were\nflying south.  Kayak Bill shouldered a roll of blankets with an ease\nwhich many a younger man might have envied.  He was balancing the broom\nacross his palm when his eye fell on the pigeon.  He picked up the cage\nwith his free hand.\n\"Beats all get-out what women will get a man into.\"\nA quizzical smile crinkled the corners of his eyes as he \"hefted\" his\nburdens.  \"Here's an old sourdough like me hittin' the trail with a\nbroom in one fist and--by he--hen, a dicky-bird in the other!\"\nOccasionally it appeared to dawn on Kayak that his expletives were not\nexactly suited to the ears of women and children and he seemed to be\ndoing his best to modify them.\nBoreland, whistling, led the way.  Despite the discouraging events of\nthe night and morning it was a cheerful little party that started out\nfor the cabin.  It is only in civilization that trouble and calamity\neat into the heart.  The wonder of the wilderness lies in that sense of\nadventure just ahead, which brings forgetfulness of the hardships left\nbehind.\nShane and Kayak tramped down a trail across the sand-dunes, through\npatches of purple wild peas, and tall rice-grass whose silver-green\nheads nodded heavily against the travelers as they passed.  Wind,\nspiced with sea-weed and flowers blew across their faces.  They came\nout on the west side of Kon Klayu in a field of blossoming lupine that\nsloped gently downward to the sands, and beyond, the sea dashed in\nfoam-shot emerald against a ragged reef.\nLoll's flower-loving soul looked out of his eyes an instant; then with\na shout he abandoned Kobuk and the bean-pot for the moment, and\nscattering the red-vested bumble-bees that were avidly working for\nhoney in the lupine flowers he began gathering a bouquet for his mother.\nThe warm August sun coaxed tiny whiffs of vapor from the long grey\nbeach that curved southward toward a distant bluff.  Sky and water met\nfar out on the rim of the world.\nScampering ahead along the wave-washed margin, Loll excited Kobuk to\nlaughter-provoking antics, as the dog, trying to play with him, swung\nalong with his ungainly pack.  The boy made frequent dashes up to the\nhigh-tide line, where Indian celery lifted creamy, umbrella-like\nblooms.  From the beach-line the vivid green of the tundra, patterned\nwith daisies, stretched away to meet the alder trees growing thickly\nwhere the land gradually rose toward the center of the island.  A small\nlake here and there reflected the sky.\nIt was in one of these lakes close to the beach that a flock of\nmallards alighted, passing so near that the travelers could see the\niridescent green of the drakes' heads catching the sun.  Boreland\nslipped off his pack and creeping toward the lake, disappeared in the\nIndian celery.\nThere was a moment of breathless waiting; a loud report: and a\nsquattering and whirring as the flock flew away toward the hill.  Then\nBoreland, wet to the knees but grinning, appeared holding aloft three\nbirds. . . .\nThe tide had been coming in for some time, assaulting the shore with\never nearing combers.  As the party neared the bluff round which they\nmust pass, the wash of extra large breakers licked the base and in the\nwake of each receding wave the wet sand mirrored the steep, rocky wall\nabove it.  At such times it was necessary to wait until a wave had run\nout before they could hurry to a place of safety farther on.\n\"I ain't no nature for this place a-tall,\" said Kayak Bill, when they\nhad safely dashed over the two hundred feet of this sort of going.\n\"There'd be hell a-poppin' if a fella'd get caught there in a high\ntide.\"\n\"The cabin lies just beyond,\" Boreland announced.\nThe bluff sloped down to a tall bank topped with green, having a beach\nbelow it.\nFollowing the sands for a short distance, they turned into what had\nonce been a trail.  The party halted looking upward to the place that\nwas to be their home.\nA mere thread of a footpath, almost blotted out by tall grasses, led\ngently up the slope for sixty yards to where, above a natural hedge of\ncelery blooms, a little cabin of weather-beaten drift-logs cuddled at\nthe foot of a steep, green hill.  A porch jutted out in front,\nspindling uprights supporting the slanting roof.  To the right, farther\ndown and half hidden in the grass, lay the remains of a board shack\nwhich had fallen in.  There was a sound of trickling water in some\nhidden place.  The sun fell warmly in this sheltered nook, bringing out\nthe scent of green things; and over all was that melancholy stillness\nwhich envelopes human dwellings long deserted.\nThe boom of breakers far out on the reefs was hushed to a soothing hum,\nand faintly, from the reedy little lake farther down on the southward\nslope came the quacking of wild ducks.  To the north and south and west\nlay the open sea, and as far as the eye could reach was no sight of\nland.\nJean broke her wide-eyed silence with a whisper:\n\"It's under a spell, Ellen, sure as you live.\" . . .  She continued\naloud: \"Look at that quaint old latch on the door--made of a piece of\ndrift-wood.  And see the--  Oh!  _Shane_!\"  Incredulity and fear\nshrilled in her voice--\"Shane!  Why, it's _moving_!\"  She grasped her\nbrother-in-law's arm as she pointed to the door of the cabin.\nIt was true.  The door was opening slowly, jerkily, in a way that\nhinted of fearsome, because unknown things.  The next instant there\nstepped out of the opening a tall, shock-haired young man, naked,\nexcept for some tatters of an undershirt and a piece of old canvas\nwound about his hips after the fashion of a South Sea _pareu_.\nCHAPTER XIV\nTHE CASTAWAY\nKayak Bill was the first to find voice.\n\"By the roarin' Jasus,\"--his tones trembled with enormous\nastonishment--\"if it ain't young Harlan!\"\n\"My God, Gregg, has anything happened to the schooner?\" shouted\nBoreland, his long stride covering the distance to the porch.\n\"Not a thing that I know of, Skipper.\"  The young man, with a weary\ngesture, brushed the hair back from his forehead upon which blood from\na slight wound had dried.  \"But you see I left her before she started\nback to Katleean.\"  In answer to the quick questioning in the five\npairs of eyes raised to his he stammered: \"I--I--wanted to\ncome--ashore--for a few minutes, and--I--I--the current carried me onto\nthe reefs at the south end, and--I wandered in here a little while ago.\"\nBruises and deep scratches marred the whiteness of his slim body, and\nbore evidence of a desperate struggle with the sea and rocks.  He was\nthe last person in the world that Ellen would have chosen to be thus\nromantically cast up on the shores of Kon Klayu with them, but woman is\npotentially a mother and even her heart was touched by his plight.  For\nHarlan, trying--and failing--to appear nonchalant and at ease in his\nembarrassing situation was boyishly appealing.\n\"Why, Shane, then the poor fellow hasn't had a bite to eat since\nyesterday,\" she exclaimed practically, while preparing to divest\nherself of her pack.  \"Everybody get busy here and we'll get him some\nlunch.  Shane, you and Kayak see what you can spare in the way of\nclothes, and in the meantime, Mr. Harlan--\" her conventionally polite\ntone as she turned to that young man caused Boreland and Kayak Bill to\nexchange an amused wink--\"you may take this blanket that Jean has\nwrapped about her violin, and put it around you.\"\nA few minutes later Kayak Bill filled the coffee pot from a small\ncrystal spring that trickled from the hillside into a sunken,\nmoss-grown barrel, and placed it over a bonfire Boreland had made.\nEllen left the old man to prepare lunch for their unexpected guest, and\nfollowed Jean and Lollie into the cabin that was to be their home.\nAs she crossed the threshold the close, musty odor of decay smote her\nunpleasantly.  The room had one tiny cobwebbed window through which the\nnorth light filtered.  In the center a rough, home-made table, with one\nleg slanting inward, supported some battered cooking utensils now green\nwith a fungus-like mould and disagreeably reminiscent of the Indian\nhunters who had last camped in the place, no one knew how long ago.  In\nthe corner where a stove had once stood, was a pile of damp soot and\nashes, and the floor was littered with decaying woolen socks, old\npapers and rubber boots from which the tops had been cut to make a\nhouse-shoe known to Alaskan miners as \"stags.\"  Here and there daylight\nshowed between the uncovered log walls, and great cobwebs wavered in\ndusty festoons from the chinking of brown peat.  An infirm ladder\nleaned against one side of the room evidently for the purpose of\nmounting to the loft indicated by the black opening that yawned in the\nceiling.\nEllen had no inclination to follow her sister into the little room that\nopened off the right.  She was appalled at the amount of work to be\ndone before the musty squalor of the place could be banished and the\ncabin made really habitable.  For a moment she even considered the\npossibility of living in the tents until the White Chief brought the\nwinter provisions, by which time she hoped she might be able to\npersuade her husband to leave the Island.\nBoreland, coming into the room with the broom on his shoulder,\ninterrupted her gloomy thoughts.\n\"Pretty snug little place, eh, El?\" he said cheerfully, looking about\nhim and lunging for the nearest cobweb with his broom.  \"The roof is\ngood and when we get another window here facing the sea, and fix her up\na bit, we'll be cozy as bears in a cave.\"\nHe filled his pipe, still warm from the last smoke, and lighted it.\nGoing to the opening leading to the next room he called: \"Clear out\nnow, young ones.  I'm going to start things going in here pretty\npronto!\"\nThrough the open cabin doorway Ellen could see Harlan sitting by the\nbonfire in a borrowed undershirt and the scarlet blanket.  He seemed\nrefreshed and strengthened by his lunch and was telling Kayak Bill of\nhis failure to swim back to the _Hoonah_, and his subsequent landing on\nthe south end of the Island.  Though all but exhausted by his battle\nwith the waves he had managed to dig himself into the dry, sun-warmed\nsand, and had slept heavily for hours.  When he awoke the position of\nthe sun told him that it must be morning.  After washing the blood and\nsand from his scratches, he had set out to find the camp of the\nBorelands.\nHarlan did not give any reason for his apparently senseless\ndetermination to swim ashore at the last moment, nor was any expected.\nOn the frontier it is actions, not the reasons for them that are of\nmoment.  At the risk of appearing a fool Harlan kept silent on the\nsubject.  If he told now what he had heard of Kon Klayu that night he\nhad lain in the top bunk at Silvertip's, there would be nothing for the\nBorelands to work for, nothing to hope for, during the time that must\nelapse before the _Hoonah_ returned with the winter stores.  The truth\nnow would only arouse bitter thoughts of revenge in the heart of\nBoreland, who must chafe inwardly at his helplessness.  There was time\nenough for the truth when the schooner returned to Kon Klayu.\n\"Over there on the east side of the Island, almost directly opposite to\nthis point, I think, I found a sort of Eskimo hut made of whale ribs\nand peat and drift,\" Harlan was saying as Ellen came out of the cabin.\n\"It isn't half bad, and with a little work I can make it fit to live\nin.\"\nThe young man saw Ellen and came to his feet.  \"I honestly don't know\nhow to excuse myself for being here, Mrs. Boreland,\"--there was a hint\nof wistfulness in the deep dark eyes he bent upon her--\"but--I _am_\nhere and dependent on your generosity until the schooner comes back.\nI'll try to be as little of a bother as I can.  I was just telling\nKayak about the hut I found on the other side of the Island.  I'll live\nthere.\"\nEllen's mind had already been busy with the problem of housing her\nunwelcome guest.  She had not been blind to the interested and\nwelcoming look Jean had given the young man as she greeted him half an\nhour before.  She was aware of the almost inevitable result of\npropinquity.  She looked up now with relieved interest and despite\nherself, with faintly quickening approval.  By living on the other side\nof the Island, Harlan would in part solve the problem.  She could then\nsee to it that he saw little of Jean.  If it were not for her sister,\nshe might find it in her to like, though she could never approve of the\ngood-looking young ne'er-do-well.  Through Kayak Bill she had come to\nknow part of the truth about the death of Naleenah, but like most good\nwomen, she could not bring herself fully to exonerate one who had been\nso compromised.  Potentially, if not actually, Gregg Harlan was to her\na squaw-man, and most certainly he was a drunkard.\n\"Well, Lady, me and him's goin' down to the North end of the Island for\nanother load o' grub and camp gear,\" drawled Kayak Bill as he finished\nscouring out a burned place in the frying pan.  \"You can't tell a speck\nabout how long this here weather's goin' to last and we want to get\nunder cover soon as possible.  Besides--\" the old man's eyes\ntwinkled--\"Gregg here looks too durned lady-like in this la-de-dah\noutfit.\"  He pointed to the scarlet blanket.  \"What he needs is a pair\no' pants.  Pants, I claim, has a powerful civilizin' and upliftin'\ninfluence on the mind o' man.  Take the heathen now.  They don't wear\nnone, and see what----\"\nKayak's threatened monologue was cut short by Boreland, who, having\nattacked the dirt and debris in the cabin appeared now and began to\npile some of it on the fire.\nAfter the old man and Harlan had gone, Boreland swept down the cobwebs\nand made the cabin ready for scrubbing.  That sense of satisfaction and\nhappiness which comes to those in the process of home-making in the\nwilderness, found expression in his rollicking Irish melody.\nThe legless Yukon stove was set up after the fashion of the country--an\nold packing box, found at the cabin, being filled with gravel and the\nstove put on top of it.  A few minutes later there was a crackling fire\nof drift-wood and every pot and kettle brought from the camp that\nmorning was full of heating water.\nThe floor of smooth boards, was unbelievably dirty.  The lack of soap\nat first caused Ellen to despair of ever getting it clean, but Loll,\nwho had watched Senott at Katleean cleaning her house, solved the\nproblem by pouring sand on it while Boreland scrubbed with the broom.\nTwo hours later the clean bare floor was drying rapidly from the heat\nof the stove before which Ellen stood stirring a savory pot of duck\nmulligan for an early supper. . . .\nIt was late afternoon when Kayak and Harlan returned with their loads.\nAs they turned in from the beach to the little grass-grown trail, Kayak\nstood a moment looking up at the silver smoke floating against the\ngreen hill.  Jean, more starry-eyed than usual, was singing as she\narranged the dishes on a canvas spread upon the floor of the porch, and\nat her direction Lollie was painstakingly placing some wild flowers in\na tin can for a centerpiece.  The two looked up to wave a welcome to\nthe packers as they approached.\n\"By hell,\" said Kayak with slow appreciation, \"it beats all creation\nhow quick women folks can make a home out o' nothin'.\" . . .\nAfter supper the men sat on the porch smoking and discussing ways of\ntransferring the provisions from the north end of the Island.\n\"If we ever get a day calm enough so that we can use the whale-boat,\"\nsaid Boreland, \"it won't take long to get the whole business down here.\nBut we can't depend on that.  I don't think the sea will get smooth\nenough this fall for us to bring the boat around the North Shoals.\nWe'd better skid it across to this side of the Island--it can't be over\na quarter of a mile wide there--and pack the grub over too.  When a\nfavorable day comes we can load her up and it's only a few miles down\nhere.  It's lucky for us, Gregg,\" he added placing a hand on the young\nman's shoulder, \"that we have another strong back to depend on.\" . . .\nAs they talked evening closed in.  From the alders on the hillside came\nthe plaintive night-song of the golden-crown--the three notes of\npoignant beauty and mystery that were linked indissolubly with the\nsummer twilights of Kon Klayu.  Out over the reefs the sun had gone\ndown splendidly into the sea.  Broad ribbons of clear jade streaked the\nprimrose of the sky.  Beneath, bands of amethyst, amber and rose merged\nslowly into a flame of crimson, and while the violet dusk crept over\nthe sea, the stars came out.  Blowing across the bare brown reefs the\nnight wind brought the scent of kelp and the muffled boom of surf.\nThe peace and promise of the sunset soothed all into silence for a\ntime.  Ellen and Jean and Lollie sitting close on the bottom step of\nthe porch, watched in reverent wonder as the colors changed.  At last\nthe boy lifted his eyes to his mother's face.\n\"God smiles, mother,\" he said simply, resting his tired head against\nher shoulder.\nJean leaned across to her sister.\n\"Ellen,\" she said quietly, \"I think I love best of all the evening-time\nof things, don't you--the fall of the year; the end of the day.  I\nwonder--\" a wistfulness crept into her voice--\"I wonder . . . I\nhope . . . no, I _know_ that when it comes, I'll find that the sunset\ntime of life is the most beautiful!\"\nAs she finished speaking she turned instinctively to look at the old\nman on the porch above her, the only one of them whose slowing feet had\nturned into the Sundown Trail.  Kayak's hand, loosely holding his\ncooling pipe, rested on his knee.  His sombrero backed his strong,\nbearded face, which had taken on the serenity of the evening.  His deep\neyes were calm with revery.  As she gazed the girl's heart was flooded\nwith a pitying tenderness for him, for Kayak Bill who, because of\nsomething buried deep in his past, faced the sunset of life--alone.\nShe turned her face away--and met the warm young eyes of Gregg Harlan\nbent upon her. . . .  Then suddenly she was glowingly happy because she\nwas still young.\nCHAPTER XV\nTHE GIANT BALLS OF STONE\nIt was not yet five o'clock the following morning when Loll, from his\nblankets on the floor of the cabin living-room, raised his tousled head\nand looked cautiously about him.  His big, grey eyes were alive with\neagerness and expectation.  The strangeness of his surroundings\nthrilled him with possibilities.  Through the window the sun-flooded\nworld called him to adventure.\nAgain he glanced speculatively at the sleeping forms round him and then\neased warily out of bed.\nWith a pudgy finger on his lips and long steps of a stealthiness so\nexaggerated that his balance was threatened at every move, he tip-toed\nto the corner where his shoes lay, and without stopping for any further\naddition to his toilet, slipped out the door in his nightgown.\nHe avoided the blanket-cocooned figures of Kayak Bill and Harlan on the\nporch, and continued a short distance down the path to the chopping\nblock where he sat down to pull the shoes on his little bare feet.\nKobuk, returning from some early morning adventure on the beach, espied\nhim, and with a red-mouthed huskie smile, came bounding up the trail,\nwriggling an extravagant and clumsy welcome.  With loud whispers hissed\nthrough fiercely protruding lips, Loll tried to shoo him away, but the\ndog only whirled about, thumping him with a joyously wagging tail and\npoking a cold damp nose down the neck of his nightgown.\nAfter fastening the top button of his shoes the boy stood up and looked\nabout him.  The wonderful sunniness of the world thrilled him.  From\nthe blue sky soaring gulls called to one another, and the sunlight\npoured down on the silver-green ocean and the little lake to the south.\nFaint breaths of air stirred the scent of green things, and everywhere\nwas that exhilarating freshness of late summer that has in it the hint\nof autumn frosts.\nThe youngster waved his arms and danced from sheer joy in living, and\nwith Kobuk at his heels, ran down off the trail through the damp grass\ntoward the lake.\nAbout a hundred yards from the cabin, hidden in a clump of alder\nbushes, he came upon a low hut built of drift logs.  Half the roof was\ngone and pieces of decaying seal-hide and a ragged red shawl embedded\nin the dirt floor hinted of the visits of long-ago Indian otter-hunters.\nInterested in his discovery, the little fellow was peering cautiously\nin, when, with a sudden bound, Kobuk dashed by him nearly knocking him\nover.  There was a whirr of wings overhead, sounds of bird alarm, and\nhalf a dozen swallows circled wildly about the frantic Kobuk before\nfinding a place of escape through the hole in the roof.\n\"Gosh, Kobuk, I was pretty near scared,\" admitted the youthful\nexplorer, looking up at the rafters under which several nests made\nclay-grey splotches.\nSwallowing hard a time or two he buttoned up the neck of his nightgown.\nOutside the hut again he slanted a discreet glance back in the\ndirection of the cabin to assure himself that everyone still slept, and\nthen with a whispered whoop of invitation to the dog, skipped down\ntoward the beach.\nThe cabin stood well back on the bank off the center of a small\ncrescent cove, flanked on the north by the bluff around which the party\nhad come the day before.  Toward the south the beach curved to what was\nmarked \"Sunset Point\" on Add-'em-up's map.  Loll tucked his nightgown\nup under his arm and headed for that unexplored territory, talking to\nKobuk as he skipped along.\nThe tide was falling and screaming gulls rose and fell over the rocks\nfeeding on the shellfish among the seaweed.  Far out on the water great\nflocks of black sea-parrots floated, and overhead these stocky little\nbirds flew in hundreds, their huge, crimson beaks thrust determinedly\nout before them, their round, white-ringed eyes showing plainly, and\ntheir wings, seemingly too small for their pudgy bodies, beating the\nair in a hurried manner, as they attended strictly to the business of\nfeeding their young.  Unlike the lazy gulls they took no time to loiter\nalong the way.\nThe boy, looking up at the busy black workers, little dreamed of the\nvital and spectacular part both he and they were to play later in the\nstruggle for existence on the Island of Kon Klayu.\nThe weed-covered boulders of Sunset Point drew him, but though he felt\nstrongly the fascination of the ocean bed now becoming uncovered by the\ntide, for some indefinable childish reason he hesitated to go down\namong the rocks in his nightgown.  So, whistling with moist\ntunelessness, he rounded the Point, Kobuk trotting on ahead.\nHere the character of the beach changed, and the high-tide line, where\nthe rice-grass began, was piled with a criss-cross confusion of\nbleached drift-logs thrown up by the mighty surf of storms.  Mounds of\nold kelp lay drying in the sun, and the unforgettable odor of decaying\nsea-things mingled with the freshness of the morning.\nAbsorbed in the delights of discovery, Lollie poked about in the\ntangled masses finding strange, beautiful shells and sea-flowers\nfragile and delicately colored as the heart of a rose.  He gathered his\nnightgown up into a pocket in front of him in which to carry home some\nof the damp and none too fresh treasures of the beach.\nSea figs in tan and orange and vermilion made splashes of color among\nthe wet piles of shiny brown kelp brought up by the last tide, and\nsmall dead starfish turned pale stomachs to the sun.  Grotesque,\nbulging seaweeds stirred him to laughter, and after untangling one--a\nhead-like growth that seemed to grin sociably at him from a tail twenty\nfeet long, he tied the thin end about his waist.  The bulb wriggled\nalong behind him on the sand, alternately piquing and repelling the\ncuriosity of the sniffing Kobuk.\nAnother point ahead lured him on.  Clouds of sand fleas rose in\nrustling hops as he ran along.  Here and there monster jelly-fish\nglistened in the sun.  With his mouth in a continual O of admiration\nand wonder, the little fellow squatted repeatedly to gaze at the\nexquisite geometrical designs in their crystal depths; but after one or\ntwo half-hearted attempts to pry them apart to see how they were made\nhe contented himself with adding one to his already overburdened\nnightgown.  Even in the thrill of discovery he had an instinctive\nantipathy against marring a beautiful thing.\nKobuk, running on ahead, had found something which interested him.  He\nstood looking back, woofing impatiently as if urging the boy to hasten\nand see what it was.  As Loll came nearer he shouted in astonishment,\nincreasing his gait with difficulty because of the impeding pocket in\nfront of him.  What he saw was a head of some great sea monster,\nperhaps twelve feet long.  The dark skin was streaked with dull red and\npurple, and where the head had been severed from the body, the sea had\nwhitened it to sand-encrusted tatters.  The huge mouth lay open and\ntwisted, and from the lower jaw protruded two rounded tusks, nearly a\nfoot long.\nThere was a contemplative moment while Loll's eyes opened wide.\n\"Golly, Kobuk--\" reverent awe was in his tones--\"I bet-cha that's the\nwhale that swallowed old Jonah!\"\nThere was a singular fascination about the battered remnant, far gone\nin decay, but the stench from it finally proved so overpowering that,\ndespite his intense desire to linger near his discovery, Loll was\nobliged to move on.\nHe turned to the upper beachline for further explorations.  Across a\nnarrow strip of tundra-like land lay the small lake visible from the\ncabin porch.  On the edge of the rice-grass he stumbled against a\nboulder that was as remarkably round as if it had been shaped by human\nhands.  He stopped in delight at the great stone ball and tried to move\nit with his one free hand.  Farther on he saw more of the curious\nspheres.  Some were two feet and more in diameter.\n\"Maybe--giants played ball with 'em once!\" he whispered to himself,\nwith a cautious glance about him.\nHe headed for the tundra and was startled by coming suddenly upon the\nskeleton of a whale whitening in the sand where an extra high tide had\nthrown the creature long ago.  Purple wild peas and blue beach\nforget-me-nots blossomed between the monster ribs, and the huge\nvertebrae, scattered here and there, were half hidden by the grass.  It\nwas from this relic, no doubt, that the Point opposite derived its\nname--Skeleton Rib.\nAfterward Louie's father utilized several of these vertebrae for\nstools, but seeing them for the first time, the little fellow looked\ndown at them respectfully, hushed into silence by vague, sea-born\nfeelings.  Far down the beach to the southward rose the cliff's where\nthousands of sea-birds swarmed in the sunshine.  Their screaming,\nsoftened by the distance, came to his ears with an eerie wildness.  All\nat once he felt very small and alone among alien creatures.  Kobuk had\nturned back without him and was bounding out of sight around Skeleton\nRib.  The giant balls of stone suddenly took on fearsome suggestions\nfrom the realms of fairy tales.\nThe dog had disappeared now.  The plaint of a high-flying gull drifted\ndown to the boy.  A breath of wind whispered in the grass about the\nwhitening bones. . . .  Suddenly he was flooded with a very panic of\nloneliness.  Grasping the folds of the nightgown more tightly before\nhim he set out as fast as his little bare legs would carry him towards\nhome, the trailing kelp attached to his waist bounding wildly along\nbehind him. . . .\nIt was thus that Ellen, white-faced with anxiety, met her returning son\nas he rounded Sunset Point.  She clasped him frantically to her to\nassure herself that he was indeed safe and sound, and then held him off\nat arm's length, surveying the havoc to his nightgown, and preparing\nfor the admonishing that was due.  But Loll had already learned to\ndivert many a mild scolding by the relation of some startling\ndiscovery.  He launched forth now on the subject of the whale's head\nand the stone balls that giants must have played with, giving\nembellishments so amazing that his eyes stood out in growing\nastonishment as he talked.\nOut-maneuvered, Ellen led him to breakfast where he took his place\nstill holding forth on the wonders of his adventures.  Kayak Bill\nregarded him with an appreciative eye.  Finally he drawled:\n\"Son, you sure do vocabulate most as well as a sourdough!\" [1]  He\npaused to take a long, slow swoop of coffee and wipe his mouth with his\nred bandana.  \"The whale's head that et Jonah ain't so bad--but them\ngiant hand balls o' stone sounds phoney. . . .  You know there seems to\nbe somethin' about this durned country that just nache'ly makes white\nmen--not lie exactly--but sort o' put trimmin's on the truth. . . .  I\nrecollect a couple o' yars back when I'm hibernatin' one winter up on\nthe Kuskokwim River with a bunch o' white trappers and prospectors.\"\nWith his spoon, Kayak scraped the bottom of his empty coffee-cup to get\nevery unmelted grain of sugar that lay there.  \"The next summer, I'm a\nson-of-a-gun, if them Injines up there ain't callin' that place by an\nInjine name that means 'The Valley o' Lies'. . . .  I've sort o' got it\nfiggered out like this: This doggoned Alasky land, bein' so big and\nmagnificent like, a man just feels plumb ashamed to tell of some little\nmeachin' thing a-happenin' in it--he feels downright obliged to fix\nthings up so's they'll match the mountains and the rest o' it.\"\nAnd drawing his corn-cob from the pocket of his hair-seal waistcoat,\nKayak Bill shuffled off into the cabin to light it from a splinter\nthrust into the round draft hole of the Yukon stove, while Boreland and\nHarlan made ready to leave for the provision camp at the North end.\nFor five days after landing the weather continued clear, although the\nsea never became sufficiently smooth for a trip with the whale-boat.\nEach day the men of the party went down to the first camp to pack\nprovisions across the Island to what they called the West Camp, the\nplace from which they expected to load them into the whale-boat and\ntake them by water to the cabin.  When the entire outfit had been\npacked across, the whale-boat was also skidded over on small drift\nlogs.  By this means they avoided the long shoals which ran so far out\ninto the sea.\n\"Now for a few days of smooth water,\" said Boreland, when the job was\ncompleted, \"and we'll be able to take everything down to the cabin by\nboat.  We must have this grub under cover before the autumn storms set\nin.  The rougher the sea, the better chance for gold, so\nSilvertip--damn his cowardly hide--told me.  Kilbuck said old\nAdd-'em-up used to send his squaw out patrolling the beach after each\nstorm, and she usually found patches of black or ruby sand which\ncarried considerable gold. . . .  It seems reasonable enough, Kayak,\nfor it's the same with all placer diggings along the sea.\"\nThe three men seated themselves on the upturned boat to eat their\nlunch.  Boreland, whose mind was ever dwelling on the time when he\nshould be free to begin his search for the gold of Kon Klayu, talked\non.  Harlan listened in silence to the other's eager plans.\n\"But of course it's the _source_ of the gold we want!  Silvertip thinks\nit is thrown up out of the sea by the action of the waves.  Kilbuck\nimagines it is washed down from the banks, although all the prospecting\ndone by the fox-farmers revealed nothing.  But--gold is where you find\nit, and I mean to leave no stone unturned while I'm here. . . .\nSpeaking of stones,\" he went on after a moment's silence, \"Loll was\nright about his giant balls of stone.  Have either of you noticed here\nand there along the beach, especially toward the south, small,\nperfectly round boulders?  By thunder, they look exactly like cannon\nballs!\"\nHarlan, though he had at first attended the others' speeches had\ngradually become immersed in his own thoughts.  Each day, while his\nmuscles ached and the desire for stinging liquor flamed like fire in\nhis veins, he had worked with Boreland and Kayak Bill at the North end\nof the Island packing provisions across on his back.  Though he still\nate his meals with the Borelands at the cabin, almost immediately after\nsupper he took the mile and a half trail across the Island to the hut,\nwhich he had found on his landing.  Intuitively, he knew Ellen\nBoreland's opinion of him.  He smiled sometimes at the grim humor of\nthe situation: He, who had tried to get away from the society of women\nfound himself now on the mercy and generosity of a woman who did not\nlike him.  He was dependent on her, by Jove, for every stitch of\nclothing on him, for even the soap that he used--for his very\ntoothbrush.  Soon, he knew, she would be giving him provisions so that\nhe might cook his own meals on the other side of the Island.  She\ndidn't want him around her, or her sister.  It piqued him to be felt\nunwanted--aroused in him a desire to show her----\nHis innate honesty compelled him to admit that Ellen knew him in no\nhero's light.  Still he could not help a feeling of bitterness at the\nrelieved look that came, unconsciously, to her face each evening when\nhe turned, reluctantly, from the homelike group on the cabin porch, to\ntake the lonely little zig-zag trail up the hillside.\nHis mind went back now to a scene of the evening before.  After supper\njust as he was preparing to leave.  Jean had taken her violin from its\ncase.\n\"I'm going to play, tonight, Mr. Harlan.  Are you too tired to stay a\nwhile?\" she asked, looking at him with friendly eyes.\nToo quickly Ellen had interrupted:\n\"No, no, Jean.  Don't keep this poor, tired fellow from his bed.  I'm\nsure he wants to go to sleep as soon as possible.  And here, Mr.\nHarlan,\"--she advanced toward him thrusting into his arms a blanket and\na pillow,--\"I found this extra bedding for your bunk today. . . .\nThere now, tuck it under your arm, like this. . . .  Good-night. . . .\nSleep well. . . .  _Good-night_.\"  Her voice was kind as she smiled up\ninto his face, but there was no mistaking her meaning.  With shame and\nresentment in his heart he had turned up the hillside trail.\nOn the brow of the hill he had stopped and flung the bedding angrily on\nthe ground, himself upon it.  Was he a criminal that he should be\ndebarred from an hour's pleasure in the society of the only other human\nbeings on this Island?  Suddenly he felt that he hated Ellen Boreland.\nHe hated all women.  He hated all the world.  The longing for strong\nliquor swept him, shaking him like a leaf.  He could feel his chin\nunder his soft young beard quiver.  He despised himself for a weakling\nand a fool.  He tightened the clasped hold of his arms about his knees\nand dropped his head upon them.  The thought that had been tormenting\nhim since the first day he began transferring the provisions, came back\nnow with an added urge.  At the West Camp were flour, sugar, cornmeal\nand dried fruit.  With those ingredients he could make himself the\nstuff that his system craved--make it as the Indians made it, with two\nkerosene cans and a long piece of hollow kelp.  In his hut on the other\nside of the Island he could, undetected, heat the fermented mash in a\ncan, attach the piece of kelp to the top and immerse it in cold water\nuntil the condensed steam came out at the other end in the form of\nThlinget _hoochinoo_.\nAs he huddled there on the brow of the hill he had cradled the thought\nin his mind, planning in detail each step of the distilling.  With\nprovisions so low it would be impossible to take enough from the cache\nto make any quantity--but he might make sufficient to ease, just once,\nthe intolerable thirst that possessed him.  It might be six weeks\nbefore the _Hoonah_ returned--six weeks of torment and loneliness.\nAnother thing had been troubling him of late.  His thoughts had been\nreturning to stories he had heard of Add-'em-up Sam who had died of\ndelirium tremens at Katleean.  Silvertip, when in liquor, was fond of\ndetailing the last, violent days of the old bookkeeper. . . .\nSometimes, Harlan fancied, he too was beginning to see those fearful\nshadowy images that dance on the borderland of insanity.  How else\ncould he account for that spectre of the tundra which he saw,\nsometimes, as he went home in the dusk--that dark, almost imperceptible\nfigure far off toward the south cliffs where the lone tree of Kon Klayu\nstood on the brow of the hill?  Was he too going the way of Add-'em-up\nSam?\nAs he sat there he had cursed himself for ever leaving the _Hoonah_ and\nrisking his life to help a woman whose kind, polite aloofness irritated\nhis drink-shattered nerves as an open declaration of hostility could\nnot have done--a woman to whom he was merely a foolish young man who\nhad chosen to get himself marooned, and whose presence forced her to\ncalculate more closely the alarmingly depleted store of provisions left\nafter the wetting of the tide.\nSuddenly, in the midst of his bitter reverie, he raised his face from\nhis clasped arms.  Up from the cabin below floated the faint, pure\nharmony of violin strings.  So exquisite, so lovely sounded the notes\nin the wide, wild loneliness of the evening, that Harlan sat for a\nmoment with suspended breath.  Gradually, under the spell of the music,\nhe became aware of the beauty of the world about him.  The after-sunset\nsky was a vast expanse of tender rose and blue deepening into violet on\nthe long encircling horizon line.  Below lay the wine-dark sea fringing\nwith pale foam the sands of Kon Klayu.  The noise of breakers on\ndistant reefs was like the wind in the eucalyptus trees of his\nCalifornia home. . . .  A flood of homesickness dissolved the\nresentment in his heart. . . .  Gradually the old fears and haunting\ntroubles faded from his lean young face.  The low, vibrant tones of\nJean's violin brought him comfort.  The soft, rippling notes breathed\nhim confidence, and the silvery chords lured him into the promises of\nthe future.  He felt equal to noble and heroic deeds--to fighting and\nconquering.  From a sense of being outcast and alone, he felt a sudden\nwarming kinship with all the world.  With his heart expanding he came\nto his feet, the better to catch the harmony.\nThe time and air had changed into something vaguely familiar. . . .\nWith a glow of pleasure he recognized it,--the lament of the funeral\ncanoes at Katleean, but with something else added, something that made\nhim feel the mystery and the weirdness and the elemental call of the\nNorth.  It was almost as if she played to him comforting him with\npromises of this clean, new land of beginnings.\nAbruptly, he remembered, the music had broken off.  There was a\nmoment's silence.  And then there had drifted up to him Jean's\ninvariable good-night to the deepening twilight.  Sweet and clear from\na long-drawn singing bow it came--a commingling of love and peace and\nbeauty he had once heard a great contralto sing:\n  \"In the West\n  Sable night lulls the day on her breast.\n  Sweet, good-night! . . .\"\nHe had longed to throw back his head and sing these words to Jean's\nmusic, but he had shaken himself.  No.  That was a song for a lover. . .\n\"Son, are you plumb dead to the world?\"  Kayak Bill's words roused\nHarlan from his dreaming.  He sprang up and began stacking provisions\ninside the tent.  He realized as he worked, that today no tempting\nthought had come to him of secretly distilling hootch from stores he\nmight take from this camp.  The enormity of such an action struck him\nfor the first time.  This food meant life on Kon Klayu--and there was\nlittle of it. . . .\nA few hours later headed down the long stretch of beach toward the\ncabin, he squared his shoulders under the heavy pack he bore and joined\nin with the voices of Kayak Bill and Boreland who, with lusty\nincongruity were singing the whaling song of the trading-post:\n  \"Up into the Polar seas\n  Where ice is delivered free,\n  And a man don't have to hustle\n  Like a blooming honey-bee!\"\nWork was hard in this country of the last frontier, but men had more\ntime, more inclination to sing, he thought.\nAs he swung along the hard sand, in his heart was a sense of\nexpectancy--for what he did not know.\n[1] Old-time Alaskan.\nCHAPTER XVI\nTHE STORM\nThe following morning was sunless.  The air was still and heavy with\nforeboding.  Leaden-colored waters heaved under a gloomy sky and though\nthe sea appeared smooth to the eye the hollow roar of distant surf\nsounded louder than usual.  There was a strong smell of kelp and salt\nbrine, and a new, wild note in the cries of the gulls.\n\"I say,\" Boreland called to Kayak Bill, who was tying back the flap of\nthe tent in which he slept.  \"It looks as if there's a storm brewing.\nBut I never saw the sea smoother.  I think, if we're quick about it, we\ncan get a boat-load of grub down here before she breaks.  What you say,\nKayak?\"\nKayak spread his legs and leaned back to take a long look at the sky,\njust as Harlan came down over the hill and joined them.\n\"I'm yore man, Boreland,\" he said at last.  \"But we'd better be spry\nabout it, for it'll be Davy Jones' locker for us if we get caught in a\ngale off the reefs.\"\nA hasty breakfast over, Ellen joined the men and the four left for the\nWest Camp to select the most important things with which to load the\nwhale-boat.\nArrived at their destination they worked swiftly, Ellen making her\nselection of necessities while the men skidded the boat down to the\nwater's edge.  It was soon loaded.  A small pile of lumber from\nKatleean for making sluice-boxes and furniture was made into a raft to\nbe towed.\n\"About three more trips with the boat, and we'll have everything down\nat the cabin,\" said Ellen, as she tied the flap of the tent.  She had\nnoted that while he worked, Shane had glanced uneasily from time to\ntime at the grey sky.  It was rapidly taking on a purple tinge, though\nthe sea was still as oily-smooth as it had been early in the morning.\nWhen the last sack had been stowed away and the raft made fast to the\nboat, Ellen saw Harlan call her husband aside.  In a low voice she\nheard him make some suggestion which Boreland dismissed with a gesture.\n\"Thanks, old man,\" he said, \"but this is a job for all three of us,\"\nand he turned to join Ellen who was standing at the edge of the water.\n\"We'll be home in time for supper, El,\" he said, with forced\ncheeriness.  \"Don't worry, now--mind!\"  And he patted her hand\nreassuringly before he turned to the boat.\nAs she watched the craft slip away from the shore she conquered a wild\nimpulse to reach out and drag it back again.  Shane and Harlan shoved\non their oars with long, slow strokes, as they faced the reefs that lay\nbetween them and the open sea; Kayak Bill steered.  Ellen watched them\nmove in and out between the protruding rocks.  On the grey slope of the\nsullen swells that rose and fell unbroken about them the raft in tow\nshone wetly yellow.  From time to time she caught glimpses of streaming\ntangles of kelp which somehow suggested the floating hair of dead\nwomen. . . .\nThe boat crept off-shore to get outside the most dangerous of the\nreefs, and once free, Boreland, small now in the distance, looked back\nto wave a hand at her.  At last, having seen the craft swing and move\nslowly southward on the home stretch round the Island, Ellen sighed\nwith relief, and turning away from the sea, started down the beach\ntoward the cabin.\nAcross the dark pall of the sky in the southwest clouds were beginning\nto form in heaving sombre masses.  A breeze, coming at first in\nscarcely perceptible breaths, freshened almost in a moment, until the\nglassy surface of the sea was wrinkled and streaked far out with black.\nIt was impossible to see the whaleboat now because of the barrier\nreefs.  Ellen's heart grew heavy with foreboding.  The wind . . .\nRemembering the tales of quick-rising wind and sea, she prayed that\nthese fitful puffs might not be the first breaths of a borning gale.\nShe found Jean and Loll on the beach below the house.  They had felt\nthe danger of the coming storm and were looking out anxiously for a\nfirst glimpse of the boat.\nOnly rearing waters and lowering sky bounded their vision.\nThe wind increased.\nSilence grew upon them.\nThe cloud banks in the southwest separated into weird-shaped masses\nwhich detached themselves and began to travel swift and low toward them\nacross the sky.  Some menacing quality in this relentless, headlong\nrush increased Ellen's fears, and in growing alarm she watched the tiny\nwhite-caps that were beginning to form on the waves.\nAs they hurried down to the point off the bluff to command a wider view\nof the waters, the wind whipped their skirts about them and tore at\ntheir hair.\nThree grey gulls flew swiftly overhead with plaintive, long-drawn cries\nquite different from their usual raucous screams.  In her anxiety Ellen\nremembered that these wild birds of Kon Klayu had as many moods as the\nsea, and were prophetic of them.  Loll, holding tightly to his mother's\nhand, looked up at her with grave eyes.\n\"Mother,\" he said, \"Senott told me one time that sea-gulls are the\nsouls of little dead Indian babies and they always cry for their\nmothers before a storm.  Hear them now?\"\nImmeasurably sad and longing the bird call struck through the sound of\nincreasing surf.  Above, the whole sky was a mass of swiftly moving\nclouds.  The wind increased steadily.\nAnother dragging hour went by with no sign of the whale-boat.  With the\nincoming tide the wind had risen until Ellen's heart quaked with a\ngreat fear for the men who must row against it.  Her senses tingled\nwith the welter of torn, tempestuous sea and clouds that seemed to\nmingle and snatch at her with stinging, salt fingers.  Her straining\neyes smarted from the high-flung spray of increasing combers.\nBracing against the gale, she suddenly found herself aching from the\nstress of trying, by sheer will, to keep back the force of the storm.\nSome pagan thing within her had endowed the elements with a godlike\npersonality.  She caught herself praying, beseeching the sea to rise no\nhigher; to be kind to her loved ones tossing somewhere on its seething\nbosom.  Both wind and tide were against the whale-boat now, and looking\nout across the rearing waters it seemed to her that no small craft\ncould live in such a sea.\nA few drops of rain stung her face.  Afar off from the southwest more\nwas coming. . . .  She turned hopelessly from it, then almost at once\nher dull misery was changed to joy.\nHalf a mile out a blurred, dark thing rose for an instant on the crest\nof a billow.  She started to point it out to Jean, but simultaneously\nthe rain-squall struck her, drenching, stinging, cutting off for a\nmoment her view of the sea.  From under the grey curtain of the driving\nrain combers of muddy green raced in, spouting high in wind-torn fury\nagainst the rocks and rolling swiftly toward her to fling themselves\nroaring at her. . . .  Again in a lull she caught a glimpse of the boat\ntossing skyward . . . dropping from sight . . . rising again and\ncreeping slowly, slowly onward. . . .\nHatless and coatless Boreland and Harlan were standing in the bottom of\nthe boat shoving on the oars with every ounce of their strength.  Twice\nshe saw the younger man take the oars alone while her husband bailed.\nKayak Bill, rigid, watchful, sat in the stern his hand on the tiller,\nready with the instinct that comes of long experience for every motion\nof the sea.\nInch by inch they battled their way around the point in the face of\nflying spray and driving rain.  Behind them, like a live thing tugging\non the rope the raft rose and fell on the combs of the dark swells.\nPathetic and tear-compelling was the courage of these three men pitting\ntheir puny strength against the pitiless violence of the elements.\nOnce the little boat seemed to stand still a long time, swashing up and\ndown in the hollows of the waves, while over it the chop of the sea\nsplashed in spiteful fury. . . .  At last it advanced again slowly and\nKayak swung broadside, turning in towards the beach on which the\nanxious woman stood.\nA gust of wind caught viciously at the tarpaulin spread over provisions\nin the stern.  It carried its fluttering blackness straight back into\nthe white and green of a giant comber directly behind.  The onrushing\nbreaker reared its cruel head . . . then just as another rain-squall\nbroke, hiding it from view, it curled down swift, terrifying, and the\nwhale-boat disappeared in its foaming maw. . . .\nWith a cry of despair Ellen rushed to the very edge of the surf,\nstraining her eyes over the wild sea.  Had the force of the breaker\nswept everyone from the whale-boat?  Had the canvas stretched tightly\nover the provisions been sufficient to keep the water from filling and\nswamping the boat?  Would the violence of the tide and wind bring them\nin if--if--Kayak Bill had not been torn from his post?  Suddenly she\nknew that on Kayak depended everything: Kayak Bill who had once been a\npilot at surf-bound Yakataga; Kayak Bill who had run the raging bars of\nthe delta-mouthed Copper River.  Would he be equal to the surf of Kon\nKlayu?  Could he keep his hold on the tiller? . . .  Oh, if the\nrain-curtain would only lift!  If she could but see out there in that\nfoaming, roaring swelter of water!\nShe dashed a hand across her face tearing aside the wet hair that\nflattened itself against her eyes. . . .  The squall was letting\nup. . . .  She could see now, but there was nothing--nothing but\nbreakers. . . .  A sob tore itself from her throat.  She started to\nturn away.  Then dimly, she saw. . . .\nLow in the water, veiled by flying white-caps, they came--Boreland and\nHarlan bailing desperately, and in the stern Kayak Bill, his hand still\non the tiller, keeping the oarless boat steady a-top the swift, rushing\nwave that was sweeping them on to the beach!\nWith outstretched, welcoming arms Ellen waded out into the foam of the\nspent breaker that grounded the whale-boat almost at her feet. . . .\nThat evening the adventurers sat in the warmth of the crowded cabin\nliving over again the events of the day.  Every available corner was\npiled high with the wet provisions that had been unloaded from the\nwhale-boat that afternoon, but contrasted with the gale outside the\nplace was satisfyingly snug and comfortable.  Still lingered the savory\naroma of the duck mulligan that had been their supper.  In the Yukon\nstove the fire roared and crackled as if in defiance of the terrific\nblasts that shook the cabin.  The sense of kinship that comes to those\nwho have fought their way together through some great danger was strong\nupon them all tonight.\n\"Holy Mackinaw, boys!\"--Boreland emphasized his remarks with the stem\nof his pipe--\"I wouldn't have given a hoot in Hades for our chances\nwhen that wave broke!  Thought it was all day with us then.  Kayak,\nHarlan, a fellow never realized what small potatoes he is until he\nlooks _up_ from the hollow of a wave!\"  He stretched his long arms\ncomfortably and laughed.  \"But . . . after you've been up against a\nproposition like that, and come through, it certainly makes a man feel\nlike a _man_!\"\n\"It certainly does, Skipper!\"  Harlan's eyes glowed.  He appeared more\nalive than at any other time since his landing, beginning to\nunderstand, evidently, something of the hard freedom of the North, for\nwhich men must either fight or die.\nOf the three men Kayak Bill alone had been silent concerning his\nsensations.  Ellen thought that the praise of the others had smitten\nhim with a strange shyness.  Loll was sitting astride the old man's\nknees, questioning him about that moment when the giant breaker had\nengulfed the boat.\nDetermined on an answer, the boy was urging for the fifth time:\n\"But, Kayak, what did _you_ feel like?\"\n\"Wall, son,\"--Kayak's hazel eyes twinkled--\"I just couldn't' figger out\nfor a minute whether I was a clam . . . or a pond-lily.\"\nIn the laugh that followed Harlan took up a roll of blankets and went\ninto the other room.  There was no thought of his crossing the Island\ntonight.  Kayak Bill's tent had blown down during the afternoon and he\nwas, as he put it, \"forced to seek better anchorage.\"  He and Harlan\nwere to spread a bed on the floor of the adjoining room.\nKobuk, with appealing whines and tentative pawings at the door, had\nfinally won an entrance and was curled up in front of the stove.  Just\nbefore supper Shane had come in lugging the pigeon's cage, which he\nplaced carefully on top of a tall packing box.  Ellen felt the bird's\npresence in a way that was beginning to trouble her.  Tonight it seemed\nto wear a sullen and dejected look, unlike its usual bold air.  All\nevening it had sat motionless in the bottom of the cage.  The only sign\nof life it displayed was in the deep orange pupils of its eyes which,\nshe was sure, followed her about wherever she went.\nShe forced herself to look away from the cage.  A hush had fallen on\nthose in the room.  The shrieking of rising wind challenged attention.\nEllen listened with a feeling strangely compounded of delight and\nterror.  Never before had she known such a wind.  It swept down on the\nroof of the cabin in woolies, threatening to blow it in, and then\nseemingly sucking it out again.  The log walls quivered.  Every joist,\nand board creaked and strained.  The box on which the lamp stood\nvibrated, and the flat yellow flame flickered.  The air reverberated to\nthe thunder of surf that crashed against the hundred reefs on Kon\nKlayu.  Ellen had a feeling that the little Island trembled in the\nsplendid abandon of wind and sea--trembled, yet exulted in the freedom\nof the elements.  She found herself paradoxically fearing, yet hoping\nthat the next blast of the gale might be heavier.\nHarlan had finished spreading the blankets in the other room.\n\"Skipper,\" he said, \"I've been wondering how the whale-boat is.  Before\nwe turn in I think I'll go down and see that we made the old girl\nfast.\"  He took up his oilskins from the floor and slipped into them.\nWhen the door had closed behind him, Kayak Bill looked at Boreland and\nnodded.\n\"I make affirmation,\" he drawled, \"that there's a paystreak in any man\nwho looks first after his hoss--or his boat.\"\nWhile the significance of the old man's remark was dawning on Ellen,\nthere was an odd lull in the storm.  Surprisingly a new sound came to\nthem.  It was a sound blown from the south cliffs; a sound that was,\nyet was not of the storm; a hollow reverberating roll that was deep and\nmellow, thrilling and strange.  Boreland and Kayak rose simultaneously\nand looked questioningly into each other's eyes.\n\"What--\"  Boreland's words were cut off by the flinging open of the\ndoor.  White-faced and dripping Harlan staggered in, slamming it to\nshut out the driving rain.  He leaned heavily against it.\n\"God--Skipper,\" he gasped.  \"The whale-boat--  It's gone!\"\nAt that moment, like a happening in a sinister dream, Ellen was aware\nthat the pigeon perched high on the packing-box, had suddenly come to\nlife.  It was flapping its wings diabolically, exultingly.\nCHAPTER XVII\nTHE MYSTERIOUS PRESENCE\nThe loss of the whale-boat was a calamity staggering in its magnitude.\nIt meant that every pound of provisions left at the West Camp must be\npacked on the backs of the men to the cabin.  Not only that, but they\nwere now without any means whatever of leaving the Island.  Nothing but\nthe direst necessity could have forced Boreland to seek the mainland in\nthe frail craft, but, remembering that the Indians of the coast had\nbeen known to journey the hundreds of miles from Sitka to Kodiak in\nopen canoes, there had been a certain feeling of assurance in the\nthought that with the whale-boat there was at least a chance of\nbringing help to the Island should it be necessary.\nBoreland was the first to recover from the blow.  The morning following\nthe loss the three men were discussing it.\n\"Well, these post mortems get us nowhere,\" he said at last as he rose\nand prepared to stow the provisions away in the loft.  \"We'll tackle\nthe job on hand now.  After all, Kilbuck will be here with the _Hoonah_\nsoon, and we can get another boat from him.\"\nAll that afternoon while the gale tore at the corners of the little\ncabin and the sea beat with increasing violence on the beach and reefs,\nthe men worked with hammer and saw, putting up shelves, making a table\nand a bedstead, and erecting two bunks for Jean and Lollie, one above\nthe other in the adjoining room.  Because he would so soon be leaving,\nKayak Bill decided to pitch his tent again in the lee of the house as\nsoon as the storm permitted, and occupy it until the _Hoonah_ came.\nThe storm lasted three days.  The second day the roof began to leak.\nThe third day the rickety little porch blew down on one end and much of\nthe chinking came out from between the logs of the cabin.\nWhen, on the fourth morning, the wind died away and the sun burst out\nbrilliantly upon a tumbling, muddy sea and rain-drenched landscape,\nBoreland's first thought was of repairing the house.\n\"We're in a devil of a stew here,\" he exclaimed after breakfast.\n\"We'll have to get this place fixed up right now.  Still, some of us\nought to go down to the West Camp and take a look at the cache.\nLuckily there are no animals on the island, so we have nothing to fear\nfrom that source.\"\n\"Why can't Loll and I go down to the camp, Shane?\" broke in Jean.\n\"Then all you men can get busy on the house.  The poor, little old\nthing looks as if it had a black eye, with the porch battered down over\nthe door.\"\nBoreland was at first not in favor of the idea, doubting that it was\nsafe for them to go alone.  At last, however, he consented.\n\"Keep to the upper beach line,\" he cautioned, as the two started out,\n\"and remember, if the sea is breaking near the bluff when you come\nhome, wait on the other side until the tide drops before you attempt to\ncross.\"\nAfter the long confinement in the crowded cabin Jean was as delighted\nas her capering little nephew to feel again the freedom of the beach.\nIn spite of all the hardships--perhaps because of them--she was growing\nto love the sands of Kon Klayu, and to look upon this incalculable\nocean as a sort of fairy god-mother, who, with every tide, brought up\nsomething different to lay at her feet.  She never started out for a\nwalk along the sea without experiencing that delightful, childish sense\nof expectancy which is so keenly a part of the life of Alaska.\nWhile Kobuk trotted on ahead she and Loll, remembering the talk of\nbeach mining to which they had so often listened, scanned the way for\nruby sand, the carrier of gold.  But this morning the beach was untidy\nwith great masses of fresh kelp and seaweeds from the deep, torn by the\nstorm and scattered everywhere.\n\"Oh, look, Jean!  The gulls have found something!\"  Loll's finger,\npointing ahead indicated a cloud of screaming, white-breasted birds\nthat were rising and falling on slate-tipped wings over some object\nbelow them.  \"Let's hurry and see what it is.\"\nBut Kobuk was before them.  Dashing on ahead he plunged into the melee,\nfrightening the gulls from their find so that they flew shrieking into\nthe air as the girl and her little companion ran up to discover the\nremains of a large fish on the sand.  It was a halibut nearly six feet\nlong.  With the exception of the bones but a small portion and the head\nremained, for the birds had been gorging on it for some time.  The\nflesh, however, looked fresh and firm and white.\nJean regarded it thoughtfully.  \"If we had nothing else to eat, Lollie,\nwe _might_ eat a fish like this--that is if we got it before the gulls\nhad been at it.\"  In an emergency even a great storm might be made to\nserve, since its very violence flung up from the deep such fare as\nthis.  At any rate, the gulls appreciated it, for even as Loll and Jean\nstood there, the birds had flown back, settling upon their find, their\nstrong, lemon-colored, crimson-splotched beaks tearing greedily at the\nflesh.  In their eagerness they flew thrillingly close, cold,\ngold-ringed eyes staring fiercely into the faces of the two, powerful\nwings fanning their cheeks.  Loll, seeing Jean shrink away from an\noverly bold bird, took her hand and tugged her away from the\ndiscordantly screaming mass.\n\"Gosh, Jean, if those fellows were very hungry and I was alone, I bet\nthey'd take a peck at _me_!\"\nRecalling a day at Katleean, when she had stood by a creek watching the\nsalmon struggle up through the shallow water, while screeching gulls\nswooped exultantly down on the helpless creatures and gouged the eyes\nout of the living fish, Jean shuddered and quickened her steps.\nThey approached the tent cache at the West Camp.  It appeared intact.\nThe wind, being from the southwest had struck with full force on the\nopposite end of the Island.  Jean untied the flap of the tent and went\ninside.  The provisions were piled up nearly to the ridgepole at the\nback.  Lollie, poking about, came upon a piece of rope, which, boylike,\nhe took outside and wound about his waist.  Jean heard him stumbling\nover the guy-ropes at the side.  Then from the back came his call:\n\"Jean!  Come here!\"\nThe girl ran out and joined him.  He was pointing to the back of the\ntent.  The pegs which had fastened it to the earth were uprooted.  The\ncanvas swung free.  But what filled her with momentary conjecture was\nthat which lay at her feet.  A sack of flour evidently had been dragged\nout from under the wall of the tent and ripped open, for the sand was\nwhitened with the doughy mixture resulting from the rain.\nAt this moment it did not occur to the girl to be frightened.  There\nwere no tracks in the sand other than hers and Loll's.  Evidently, she\nthought, in the haste to load the boat before the storm, the men had\ndropped the sack and it had burst open.\n\"But how careless of them, Loll, not to peg the tent down again,\" she\nsaid.  Loll, however, was already headed for the first camp-site made\nwhen landing on the northeast side of the Island.  Her call brought his\neager answer:\n\"Aw, come on, Jean, I want to see how drowned we'd be if we'd stayed\nthere during the storm.\"\nSmiling to herself at the boy's love of dwelling on their narrow\nescapes from death, real and imaginary, the girl turned and picking up\na stone drove in a few of the tent-pegs before she followed him.\nOn each side of the trail great patches of rice-grass had been\nflattened from the force of the wind and rain, and the air was filled\nwith the sweet smell of vegetation drying in the sun.  As she\napproached the other side, the blue sky curved down to meet the ocean\non a far straight line.  The yellow-green of the sea was set off by\nastonishing areas of clearest cobalt blue, and the flying spray from\ncombers breaking for miles out on the North Shoals, caught the sunlight\nin a glory of rainbow mist.\n\"See, I told you, Jean,\" Loll nodded sagely and pointed ahead as she\novertook him.\nA hundred feet above the place where the first camp had been the\nrice-grass had been torn out by the roots and whitened drift-logs and\nkelp were massed there confusedly.\nIn silence the girl stood looking at the spot.  Emotions of fear,\nthankfulness and something of reverence swept her.  Lollie, looking\ndown over the freckles on his nose, vested the lower part of his face\nin his hand in a manner reminiscent of Kayak Bill.\n\"Escaped, by hell, by the skin of our teeth!\" he gloated.\nThe tide had been coming in fast during the past half hour.  Jean,\nnoting it, suddenly turned back, and with uneasy haste began the\nhomeward journey.\nOpposite the little lake where Boreland had shot the first ducks, Loll\ninsisted on running up to the beach line to look over and see whether\nthere were any more birds feeding there.  Jean, waiting for him,\nwatched him make his way through the short grass to the narrow, sandy\nlake-shore, and then stoop to look at something. . . .  All at once he\nraised his head, and with a strange, blanched look on his little face,\nglanced quickly, fearfully behind him into the tall alder thicket\ntoward the hill.  Then, wide-eyed, he sprang toward her without a sound.\n\"Wha--what is it, Loll?\" she gasped.\nThe boy's eyes shone with excitement.  \"It--it--it was a wild beast's\ntracks, Jean.  This long--\" He measured off about twelve inches between\nhis trembling hands--\"and it had claws--big ones that digged deep into\nthe sand!\"\n\"But there are no beasts on the Island, Loll!  You must be mistaken!\"\n\"No, no!\"  Loll's face quivered in his anxiety to convince her of the\ntruth of his statements.  Knowing the youngster's unconscious tendency\ntoward exaggeration, she was doubtful.  There could be no animal on the\nIsland.  But . . . to make sure . . . she herself would go back to see.\nShe looked about for Kobuk, but the dog had gone on toward the bluff.\nImpressing on Loll the necessity of remaining where he was until she\nshould come back she turned toward the lake again, running.\nAs she drew near the margin, unreasoning terror of the unknown began to\ntake possession of her.  Every pile of driftwood, every alder bush\nbecame alive with sinister possibilities.  She drove herself forward.\nShe could see the stretch of sand where Loll had stood.  She could see\nthat there were marks of some kind upon it.  Trembling, fearful, her\nheart beating like a hammer in her breast, she pressed forward and\nlooked closely at the marks. . . .  Loll was right.  Here on Kon Klayu\nwere monster tracks of--what she did not know.\nShe wheeled swiftly and ran back to where the boy waited.  Without a\nword she snatched his hand and fled with him down the beach toward the\nbluff and home.\nKobuk, far in advance, was picking his way along the bluff, and now as\nthey ran Jean became aware that a new danger threatened them.  The tide\nhad come in so far that even from a distance she could see the foam of\nspent breakers washing up against the rocky wall ahead.  Boreland had\nsaid to wait until the tide fell, before attempting to pass the bluff,\nbut with the new, strange terror behind them, she had no thought of\nobeying.  The sea, roaring almost at her feet, seemed kinder and more\nto be trusted than the unknown beast lurking in the alders, or perhaps\nslinking along, even now, above the beach line, watching, waiting to\nspring out at them any moment.\nArrived at the bluff she saw, with dismay, that all along, the\nback-wash of breakers licked the base.  She stopped, tightening her\nhold on Loll's hand.  She looked a long moment at the huge rollers of\nthe incoming tide that crashed so close to her, and then back from\nwhence she had come.\nLoll raised his sober little face to the sky.\n\"God,\" he said, conversationally, \"I guess _you'll_ have to take a\nhand.\"\nJean slipped the rope from about his waist.  She tied one end to him\nand the other about her own body in clumsy, womanish knots.\n\"Lollie,\"--despite her efforts her voice quavered--\"we're going to run\nfor it.  Cling tightly to my hand, dear.\"\nAt that moment a wave receded.  They ran dizzily forward in the\nshifting, wet gravel of the beach.  When the next incoming comber was\nbeginning to curl down from the top, Jean dashed to the bluff.\nShielding the little fellow below her, she clung to the uneven shale of\nits base, presenting her back to the billow that crashed with a\ndeafening roar just behind her.\nSwift, terrifying, the wash of the breaker boiled and foamed about\ntheir feet, to their ankles, to their knees.  It made Jean's head swim.\nIt paralyzed her power of thought, leaving her with only the instinct\nto cling.  She had to wait while two more breakers rolled in and broke\nbefore she saw a chance to stagger to the next point of safety.  It\nseemed to her that hours passed thus while she and Loll struggled, wet\nand battered, onward.\nThey had gone but two-thirds of the way when, glancing at the incoming\nwave to calculate how far they might run, she became aware of a\nmountainous unbroken roller immediately behind it--a watery monster\nthat humped its back into a ragged, dancing crest high above her head.\nIt advanced in eager, liquid blackness.  She knew it must break nearly\nagainst the bluff where they stood.\nHer desperate eyes espied a rough ledge just above her.  With the\nstrength born of despair she caught up her nephew and tossed him to\nsafety.  Frantically she herself tried to climb the bluff. . . .  She\nthought she heard a man's voice shouting to her. . . .  There was a\nmoment when Loll's white face looked down at her through a haze. . . .\nA moment when his little hands moved swiftly taking a turn with the\nrope about a ragged, upstanding piece of rock.  Then a boiling, roaring\nsound filled her ears. . . .  An avalanche of dark water crashed down\nupon her, freezing her, smothering her, crushing her.  She felt her\nbody thrown high against the stony wall. . . .\nAs she was whirled, choking, into darkness and oblivion there flashed\nthrough her mind the thought:\n\"This, then, is how it feels to die.\"\nCHAPTER XVIII\nTHE PERIL OF THE SURF\nAfter Jean and Loll had left for the West Camp that morning Harlan,\nBoreland and Kayak Bill set to work repairing the roof of the cabin and\nthe porch.  From his position astride the peak Harlan could hear Ellen\nbusy at her tasks indoors.  As the tide began to run in he saw her come\nto the door from time to time and walk down onto the beach to look for\nthe absent ones.  Apparently she was vaguely uneasy.  The Island's\npossibilities for good or bad were yet unknown to her and she was\nevidently never quite secure in her mind when any of her household was\nout of her sight.  After one of the last excursions to the beach she\nhad spoken of the fact that the waves had reached the base of the cliff.\n\"They won't be able to come now for a while,\" she said, addressing the\nmen on the roof.  And then she added: \"Could two of you give me a\nlittle help inside, Shane?  I need to move the bed.\"\nKayak and Boreland accordingly slid down from the ridge and followed\nher into the house.\nGregg paused in his work of nailing tar-paper over the boards, and\nstretched wide his arms.  He was taking a cursory glance toward the\nincoming tide when his attention was attracted by the figure of Kobuk\nambling up the trail from the beach.  The dog was dripping wet and at\nintervals he stopped to shake himself violently.  Kobuk must have been\nplaying along the edge of the surf, Harlan thought.  And yet, he must\nhave crossed the sands below the bluff . . . and the tide was only an\nhour from the flood. . . .  But of course Jean would not dream of\nattempting a crossing now.  He took up his hammer again. . . .\nSuddenly he hooked it over the ridge.  At any rate, he would go down\nand make certain. . .\nSlipping off the roof he ran down to the beach.  There he sped along\nits curve until his eye could command the length of the bluff. . . .\nHe stopped aghast.  Midway Jean and the boy were coming on, stumbling\nacross the sand left bare by a receding wave, dashing to the ragged\nbase of the cliff and clinging to it while the incoming comber broke\nand seethed about them, then rushing on again!  Owing to the storm of\nthe past days the billows were higher than usual.  Also there was yet\nthe most dangerous portion of the way to be traversed.\nWith a call for help Harlan started toward them, he also racing as the\nbreakers ran out, and climbing the cliff out of their reach as they\nbroke.\nHe shouted to Jean to attract her attention.  If he could only sign to\nher to ascend the bluff and hold fast till he came!  Vainly he tried to\nmake his voice heard above the deafening roar.  She neither heard nor\nsaw him. . . .  Desperately he plunged on, not taking time now to climb\nup for his own safety, but ploughing through the onrushing waves.  Once\na crashing comber caught and threw him flat on the shifting gravel.\nBefore he could right himself it had sucked him almost into the maw of\nthe next down-curling sea.  Fortunately it was a small one.  He was\nable to regain his feet and stagger to a hand hold.\nThen at the same instant that Jean's eye caught it, he became aware of\nthe huge, unbroken billow advancing toward the struggling figures of\nthe girl and boy.  He saw her snatch up the child and toss him to the\nsafety of the ledge, saw her ineffectual efforts to follow . . . then\nthe dancing crest broke and Jean became but a formless dark object\ntossed like a drift-log on the foaming waters that spouted against the\nfoot of the bluff.\nWith a despairing cry, Harlan plunged forward, and as the great wave,\nthe first of three, receded, he reached her.\nLimp and unconscious she hung from the rope that bound her to the\nterrified small boy above, and he saw that the little fellow had taken\na turn with it about a jagged rock.  But for this timely precaution the\ngirl must have been drawn back into the sea and the child with her.\nAn extra long recession of the water gave him time to lift the inert\nbody and throw it across his shoulder, and thus, while the second giant\nroller broke at his hack he gripped with his torn hands into the sharp\nshale and held on.  As it ebbed he hoisted her to the ledge above him.\nFrom the temporary safety of this narrow shelf he considered their\nchances.  It was impossible to scale the face of the bluff above him,\nyet the tide would not be full for an hour.  Owing to the enormous sea,\nthey would all three be swept into the ocean if they remained where\nthey were.  There was but one thing he could do.\nHe laid a hand on Loll's quaking shoulder.\n\"Pal,\" he said quietly, \"will you be afraid to stay here while I carry\nJean to the other side of the bluff?\"\nThe boy looked down at the clamorous, booming tide and hesitated. . . .\nHe swallowed hard, blinking.  Then he looked at the inert form of his\naunt, and meeting Harlan's eyes, shook his head bravely.\n\"Good!  Hang on tight then, old man, and I'll be back for you before\nyou can say 'Jack Robinson'!\"\nHe cut the rope about Jean's waist, and backing down from the ledge,\ntook her again across his shoulder.  As Lollie's hand reached out and\nbegan coiling the rope, he turned to watch the breakers, that he might\ntime the first dash of his flight back to safety.\nThe tide was higher now, the combers nearer, and he had but one free\nhand with which to cling to the base of the bluff when the enveloping\nwaters rose about him.  He plunged.  He staggered. . . .  His senses\nafter a few moments were bludgeoned into numbness by the roar of the\nsea; his body was sore from the impact of beating water and stinging\ngravel.  He struggled on step by step, feeling his way along the\nshifting beach, until only the primal instinct of self-preservation was\nguiding him in the grim game with the tide.\nAt last he reached the other end of the bluff.  He reeled up to the dry\nsand and let the body of the girl slip from his shoulder.  As he did so\nhe heard a shout.  Boreland and his wife were running down from the\ncabin trail.  He did not pause but plunged back again through the\ndrenching maelstrom.\nIn a moment their frantic calls were swallowed up in the deafening roar\nof waters.  Would he have strength to fight his way back?  Would he\nfind the boy where he had left him, or had a comber swept him off the\nnarrow shelf?  Harlan was unutterably weary now.  He longed to let go\nhis hold on the rocky wall, to cease fighting, and let himself be taken\nout into obliteration; but he drove himself on . . . and on. . . .\nAfter a long while he gained the perilous perch where Loll bravely\nawaited him above the roar.\nHe rested a moment.  The little fellow's absolute faith in him gave him\nthe will to fight his way back again.  He took the child on his\nshoulders and once more plunged into the watery hell.\nHow he returned to safety he never knew.  He was conscious only of\nreaching the place where Jean lay . . . of asking whether or not the\ngirl was still alive . . . then the great weariness overpowered him.\nHe sank down on the sand beside Jean, and Lollie's glad shout, as he\nwas clasped in his mother's arms, floated through his mental numbness\nlike a clear toy balloon drifting up in a fog.\nThree hours later Harlan was resting on the bed in the living-room.  In\nthe adjoining room where Jean lay in her little bunk he knew that the\ngirl was hearing, from Ellen's guarded lips, the story of her rescue.\nOn recovering consciousness she had tried to rise, but one side, where\nshe had struck against the rocks, was bruised and so painful that,\nthough she rebelled, she would be obliged to remain in bed for the\nremainder of the day at least.\nLoll had already told the story of the mysterious animal tracks by the\nlake, and the scattered flour at the cache.  Boreland had taken his\nrifle and gone down to the place as soon as the tide permitted.  As\nHarlan lay there thinking, he was filled with an intense relief--he\nknew now that the spectre of the tundra that had so worried him was no\ncreature of his own disordered brain.  Whatever it might be, it was of\nflesh and blood.  He could speak of it now.\nBoreland returned about supper time.\n\"Did you see 'em, dad?\" shouted Loll as his father came in the door.\n\"What was it, Shane?\" Jean called from the other room.\nBoreland replaced his rifle in the rack over the head of the bed.\n\"Bear tracks,\" he answered succinctly.  \"Hind foot measures fourteen\nand a half inches!\"\nCHAPTER XIX\nHOME-MAKING\n\"I figure that the Kodiak cub the Alaska Fur and Trading Company\nbrought over here as a pet, is now wandering about the Island a\nfull-grown grizzly, instead of being in bear heaven, as the people of\nKatleean thought,\" said Boreland, as they all sat about the supper\ntable.  \"Confound it, it makes it mighty bad for us, with all that grub\ndown there at the West Camp!  If the beast takes a notion he can go\nthere and raise the very devil.\"\n\"I'll take my blankets down there tomorrow and guard the cache until we\nget the provisions transferred,\" announced Harlan, quickly.  \"I'd like\nto get a shot at a Kodiak bear.\"\n\"Son, I ain't a-castin' any asparagus on yore shootin' ability, but I\nclaims the right to shoot that anamile myself!\" spoke up Kayak Bill.\n\"Funny!\" Boreland laughed.  \"I had the same idea myself.\"\nAfter supper they discussed the problem of getting the remainder of the\nprovisions down to the cabin at once.  It was decided that each man\nshould take a turn guarding the cache.  Boreland finally left the\nconversation to Kayak and Harlan while he sat at the table silent, one\nhand clutching his hair, the other drawing queer-looking cart-wheels\nand figures on a paper before him.  Just before the others started to\nleave for the night, he sprang up, with an exclamation.\n\"By thunder, I've got it!\" he announced enthusiastically.  \"Fellows,\nwe're going to make a nautical cart and sail her on the beach of Kon\nKlayu!\"\nThe nautical cart, when completed, proved to be a hybrid contrivance\nwith two large wheels.  The wheels had a cumbersome appearance, owing\nto the double rims, which were tired with barrel-staves cut in two and\nmailed crosswise to prevent sinking into the sand.  The top of the cart\nwas a platform eight feet long and four wide, with two handles\nprojecting at each end.  Rising from its middle was a mast for which\nKayak Bill rigged up a sail from a tarpaulin.\nBoreland stood off and regarded the finished child of his brain.\nBeside him Kayak eyed it for some minutes in admiring silence.\n\"By--hell!\" he drawled at last.  \"Sired by a whisky barrel, spawned by\na stretcher, and a throw-back to a Chinese sampan!\"\nBoreland laughed.  \"I got my idea for this little beauty from something\nI read once about the sailing wheelbarrows used by farmers in the\ninterior of China, Bill!  I'll bet you, with a fair wind, we can make\nall of five miles an hour with her on the beach!\"\nThe cart exceeded even its builder's expectations.  Steered to the West\nCamp the next afternoon it was loaded with provisions and the sail\nhoisted.  With Harlan between the two front handles and Boreland at the\nrear, the odd vehicle was headed toward home.  The sail, twice as large\nas the cart, strained at the mast from the force of the wind behind it,\nand to the men between the handles, the load seemed hardly to matter at\nall.  Bare-footed, with trousers rolled up to their knees as in boyhood\ndays, the two men found it a new and distinctly pleasant sensation to\nbe swept along thus before wind.  In a few minutes Kayak Bill, smoking\nplacidly before the provision tent, was left far behind.\nRemembering the back-breaking loads he had carried to the cabin, Harlan\ngrinned back at the bellying sail behind him as he sped along.\n\"This is child's play, Boreland!\" he shouted to his partner.  \"The\nproblem of transportation is solved; for if there's one thing we never\nlack on Kon Klayu, it's wind!\"\nAnd so it came about that, thanks to the nautical cart, which though\nthe subject of much jesting, did the work, a month from the time of\nlanding found all that remained of the adventurers' outfit transferred\nto the cabin.  Not once during this time was the bear seen in the\nvicinity of the cache, though sometimes fresh tracks appeared on the\nmargin of the little lake--now christened Bear Paw Lake--where Loll had\ndiscovered them.\nWith the boards taken from the tumble-down shack an extra shed had been\nbuilt near the cabin, and the porch repaired and strengthened.  Harlan\nfound time to make a much larger cage for the pigeon.  As he told\nEllen, the bird, confined in such close quarters, might not thrive.\nHarlan noticed that despite Ellen's determination to leave the Island\non the coming of the _Hoonah_ she took a woman's delight in doing her\nbest to make life comfortable with the few things at her command.\nSince it was the dictum of fate--if she would be with the man she\nloved--that she must spend so much of her married life in tents along\nnew trails, floating down rivers in flatboats, or wayfaring in\ntrappers' cabins, she sooner or later accepted those conditions.\nDoubtless, many times she rebelled in her heart.  Any woman would.\nBut, he fancied, she was the kind who would chide herself for the\nmomentary disloyalty to Shane and with an increased tenderness, set her\ncapable, feminine touch to perform some new marvel of transformation in\neach wild place of the moment.\nIn the cabin on Kon Klayu she accomplished much.  With newspapers and\nmagazines found in the box of books from Add-'em-up Sam's collection,\nshe papered the rooms.  At the new windows which framed a wide expanse\nof ever-changing sea, giving a sense of space and freedom to the\nliving-room, she hung cheese-cloth curtains.  The folds of these draped\na book shelf beside the window, supporting few books but holding in its\nempty space the gold-scale, unused as yet on Kon Klayu, and glinting\nnewly as it caught the light on its polished surface.  In a corner of\nthe room the bed was gay with Indian blankets and bright cushions.  The\nhomely cheer of a red tablecloth was reflected in the bright nickel of\nthe shaded lamp on the table, and on the white, sand-scoured floor a\nlong strip of rag carpet from Ellen's old home in the States, made a\nnote of old-fashioned, comforting cleanliness.  On the Yukon stove the\nkettle sang cheerily to the pots and pans hanging in a shining row on\nthe wall behind and the room was pervaded by the faint, clean smell\nfrom the woodbox piled high with newly-split wood that had lain long in\nthe sea.\nHarlan followed Boreland into the house the day Ellen finished her\ncurtains.  He came upon the big prospector standing with his arm across\nhis wife's shoulders.\n\"I'm blessed of the saints, entirely,\" Shane was saying, as he bent to\nlay his cheek affectionately against her hair.  \"God love you, Ellen,\nlittle fellow. . . . you could make a home out of a drygoods box.\" . . .\nAfter the rescue of Loll and Jean at the bluff, Harlan noticed that\nEllen's silent gratitude found vent in a dozen little ways, though he\nwas aware also that he never had an opportunity of seeing the girl\nalone.  Since the _Hoonah_ was expected any day now, Ellen had\nsuggested that the young man bring his blankets across the Island and\n\"bunk\" with Kayak Bill until their departure.  Had it been offered\nthree weeks earlier, this arrangement would have been eagerly accepted.\nBut Gregg's attitude toward life on Kon Klayu had changed.  It was\nstill changing.\nHe was now cooking his own meals at the Hut, clumsily, it is true,\nsince his unaccustomed hands had never before held a frying-pan.  But\nhe was learning, and he was surprised to find himself taking pleasure\nin the experience.  He thanked Ellen for her invitation, but refused\nit.  He would not have been human had he not felt a certain\nsatisfaction in doing so.\nHe wondered tentatively if Kayak Bill had suspected the struggle that\nwas going on within him during his first days on the Island--the fear\nof delirium tremens, the fight he was making to conquer the craving for\nliquor which continued, intermittently now, to torment him.  The old\nman said nothing on the subject, but on one pretext or another Harlan\nnoticed that Kayak managed to spend much of his leisure time at the\nHut.  Often, if the night were fine, he would roll up in a blanket\nbefore the fire and stay there until morning.\nKayak Bill's sauntering feet had followed Dame Fortune over every\ngold-trail from Dawson to Nome, and there was no trick of Alaskan camp\nlife that he had not learned.  He never tried to force his knowledge on\nthe younger man, but casually, in the course of his slow, whimsical\nmonologues, he taught Harlan much that was of inestimable value to him.\nIndeed, if it had not been for the old man, Harlan might have been\nforced to swallow his pride long before and ask for shelter at the\nBoreland cabin, for despite his brave talk of living in the Hut, it was\na shelter of the rudest type, built, probably, as a feeding station by\nthe experimenting fox-farmers.\nIts structure interested him.  It was made by standing whale ribs up on\nend about two feet apart in a circle.  The spaces between were filled\nwith turf, which abounded all over the island, thus making a wall two\nfeet thick.  Harlan had repaired it, and in the words of Kayak who\nhelped him, had \"rigged\" himself up a stove from kerosene cans.  It was\nthe old hootch-maker who showed him how to arrange stones to form a\ncrude, open-air fireplace in front of his door for use in fine weather.\nIt was Kayak Bill who taught his blundering hands the trail way of\nstirring up a bannock and baking it in a frying-pan propped up before\nthe blaze.\nHarlan now had less time to think about himself.  The little can stove\nrequired much finely chopped firewood to keep it going.  The open-air\nfireplace consumed large quantities of drift which he had to chop with\nan axe, since the one saw on the Island was needed at the cabin.  After\nhis day's work with Boreland, he had his meals to prepare.  There were\nbrown beans to clean and cook, and sourdough hotcakes to set for the\nmorning.  Kayak had taught him to prepare his sourdoughs--a resource\nwhich was to become the food mainstay of all on the Island.  Harlan\nlearned from the old man that the sourdough hotcake, or flapjack is as\ntypical of Alaska as the glacier.  The wilderness man carries, always,\na little can filled with a batter of it; with this he starts the\nleavening of his bread, or, with the addition of a pinch of soda he\nfries it in the form of flapjacks.  So typical a feature of Alaska is\nthe sourdough pot that the old timer in the North is called a\n\"Sourdough.\"\nHarlan grew to have a real fondness for his Hut--the only home he had\never made for himself.  Its very primitiveness endeared it to him.  He\ngrew also to look forward to the fine evenings when he and Kayak,\nstretched before the open fireplace with their backs to a bleached\nwhale rib, smoked and yarned and sang, while they watched the leaping\ndriftwood flames.\nStrange, picturesque characters of the last frontier stalked through\nall Kayak Bill's tales: Reckless Bonanza Kings of Klondyke days, buying\nwith their new-found gold the love of painted women; simple-hearted,\ngentle Aleuts kissing the footprints of skirted, bearded, Russian\npriests; pathetic, gay ladies of adventure; half-mad hermits of the\nhills; secretive squaw-men, and wistful, emotional half-breeds--all\nthese Kayak Bill made to live again in the glow of the evening fire.\nIn his quaint, whimsical way he told of the prospector--that brave\nheart who makes gold but an excuse for his going forth to conquer the\nwilds.  Harlan came to understand them--the lure of gold, and their\nslogan: \"_This_ time we will strike it.\"  Through Kayak Bill's eyes he\nsaw them aged, broken by the rigors of many northern winters, but with\nthe indomitable spirit of youth still in them, a recurrent yearning\nthat defies age, rheumatism and poverty, and sends them with their\ngrub-stakes out questing into the hills.  He saw them, with picks, and\ngold pans wandering happily during the wonderful Alaskan summer and\nfall, and when the frost paints the green above timber-line with russet\nand gold and the Northern Lights beckon them back to the settlements,\nhe saw them arrive, tired, penniless, perhaps, but satisfied, and\nalready planning the next trip into the magnetic golden hills.\nAnd one night, being in a pensive mood, Kayak told of a partner of his,\nthe Bard of the Kuskokwim, an old northern poet unknown except in the\nValley o' Lies, who had put the prospector's soul hunger into verse:\n  \"We yearned beyond the skyline,\n  With a wistful wish to know\n  What was hidden by the high line,\n  Glist'ning with eternal snow.\n  And we yearned and wished and wondered\n  At the secrets there untold,\n  As the glaciers growled and thundered,\n  Came the whisper: 'Red, raw gold!'\" [1]\nAs if he feared Harlan might think him sentimental, Kayak Bill finished\nhis recital with:\n\"Yas, son, that old cuss partner o' mine was always recitin' them\npoetry sayin's o' his.  Durned if he wouldn't vocabulate to the trees\nor the hills when there warn't another soul nearer to him than a\nhundred miles!\"\nBut of Kayak Bill, himself, Harlan noted, there was never a personal\nthing.  In all his tales the old hootch-maker was ever the spectator,\namused, kindly, philosophical.\nSometimes the two were silent--with the companionable silence that the\ncamp-fire instills.  Leaning back against the whale-rib, while the\nembers died in the fireplace and the sea below took on its veil of\ntwilight, they mused and listened to the universe.  It was at such\ntimes that Harlan began to feel, though faintly, the healing, vibrant\nenergy that comes to those who live close to Mother Earth.  Katleean\nand the bunkful of liquor that at first had occupied so much of his\nthought, occurred to him less frequently.  The States--and all that had\nhappened to him there were becoming a dream.  He began to feel as\nthough he had always lived as he was living now.  To his surprise as\nthe time drew near for the arrival of the _Hoonah_ he found himself\nunconcerned, indifferent.  Like Kayak Bill, he was learning to face\nlife serenely, undisturbed as to the morrow, but doing his best today.\n[1] From the unpublished poems of Edward C. Cone, Bard of Kuskokwim.\nCHAPTER XX\nGOLD\nToward the end of September another heavy gale swept the Island.  This\ntime the little party was snug and warm in the cabin with the\nprovisions under cover, and while the storm raged outside, Ellen and\nBoreland climbed up into the loft and made a list of the supplies on\nhand.  In the log Ellen had begun to keep the day they landed on Kon\nKlayu she made this entry:\n\"Heavy gale blowing from the southwest.  We hear again that strange\nrolling sound from the south cliffs.  Discovered today that all rolled\noats and flour is musty from being wetted by the tide when we landed,\nand much of it is spoiled.  Fortunately the flour caked on the outside\nand the inside is fairly well preserved.  We used the last of our\nbutter today.  We have sugar for one more week.\"\nThough she said little her growing anxiety communicated itself in some\noccult way to the other members of her household, even to Loll, to whom\nshe gave daily lessons in reading, writing and arithmetic.  The little\nfellow was at this time moved to write and illustrate a book on some\ndiscarded letter-heads of a defunct life insurance company.  Ellen\nbreathed a prayer of thanks that he so well entertained himself on\nstormy days.\nOn the first page of this work appeared the text of Old Mother Hubbard\nwritten in the boy's large, childish, downhill hand with spelling of\ndistinct originality.  Above it in a flaming red wrapper a lady with a\nlarge bust and impossible tiny feet, slanted tipsily toward some\nshelves--conspicuously empty, while in the offing quite aloof from the\nlady a lean, pale-green animal stood with despondent drooping head and\ntail.  Other nursery favorites that had to do with eating and food,\nfollowed.  They were illustrated in red and black and green.  The red\nwas made by a crayon pencil, miraculously produced by Kayak Bill; the\ngreen was obtained by the simple expedient of chewing up rice-grass.\nToward the end of the book were many of Lollie's own poems, composed\nfor his mother, and beautified with marginal decorations of flying\ngulls, sailing ships and fat button-eyed daisies, all bearing evidence\nof repeated erasures with a wet little finger.\n  \"The red sun sinks down in the sea of the West,\n  The wind goes to sleep.\n  Seagulls flies homes to their nests.\n  And the gold stars their watches keeps.\n  I think the weather will be fine.\n  So the _Hoonah_ can come in.\n  If she don't we will be out of grub.\n  And O, what will we do then.\"\nThus Lollie indicated the unspoken thought which underlay all the\nactivities of the Boreland household now.  They were subconsciously\ncounting the days until the White Chief should come to the Island with\nthe _Hoonah_ and, while they counted, they were beginning to fear.\nDuring the time of this second great gale Boreland and Kayak Bill made\nready for mining by making a gold-saving device called a rocker.  It\nwas a box-like affair four feet long, eighteen inches wide and the same\ndimension in height.  The front end was open as well as the top and it\nwas mounted on rockers like a cradle.  Over the back end was a sieve or\nhopper, and immediately beneath slanted a frame covered with blanket\ncloth.  The pay-dirt was to be poured into the hopper and running water\nturned in on it.  While the cradle was rocked with a jerky movement the\nsand sifted down through the hopper to the slanting apron.  Much of the\ngold, Boreland explained, would be caught in the nap of the apron, and\nin the little sag at the bottom of it, but the sand would flow on out\nover the bottom of the rocker which was also lined with blanket cloth\nheld down by cleats nailed crosswise at intervals.  The sand, being\nlighter than the gold, was washed on down the length of the rocker\nfloor and thence out on the ground, while the cleats and the rough nap\nof the cloth caught any further yellow metal.\nWith his Irishman's gift for seeing life through childish eyes,\nBoreland made a small duplicate of the rocker for his son's use, a gift\nwhich, in a way, was for the purpose of distracting Loll's mind from a\nmisfortune which had befallen Kobuk during the storm.  The dog in\nplaying about the shed where the men were working, had knocked down the\nlong cross-cut saw, and the sharp teeth had fallen with full force\nacross Kobuk's right foreleg cutting it cruelly and, it was feared,\ncracking the bone.  Shane had cleansed the wound with the last bit of\nantiseptic and bound it up in splints, but Kobuk's limping had brought\nforth Loll's extravagant proffers of sympathy.\nThe first receding tide after the six-day storm found the whole party\non the beach.  With the provisions under cover and the cabin repaired\nall was clear for the mining.  They were patrolling the beach for\nprospects.\nKayak Bill and Gregg turned southward toward Skeleton Rib, as Harlan's\ngrowing interest in the round boulders of that vicinity often drew him\nthere.  Shane and his family took the beach around the bluff toward the\nnorth.  Ellen carried the rifle, for though there had been no time yet\nto hunt, especially for the great bear that roamed Kon Klayu, she was\nalways on the alert.  Boreland, happier than he had been since his\nlanding, was at last outfitted with a shovel and a gold pan, emblems of\nhis romantic calling.\nEach storm that tore the Island produced a different effect on the\nbeach.  When they rounded the bluff this morning, instead of finding\npiles of seaweed and gravel tossed up as they had after the first great\ngale, they were surprised at vast areas of bedrock from which every\nvestige of sand had been swept away.  Tiny rills of water, drainage\nfrom the tundra banks above the beachline, flowed down the shallow\ncrevices of the clayey, hard substance.\nJean, who had never seen a nugget in its native state, was excitedly\nsearching for pieces of gold.  Ellen smiled to see her, with Loll at\nher heels, running hither and thither, expecting any moment to come\nupon large, brassy-looking lumps resting like eggs on the hardpan.\nBoreland skirted the edges of the bedrock.\nThey had reached the vicinity of Bear Paw Lake when abruptly he dropped\nto his knees and looked keenly at the formation beneath him.  In an\ninstant they were all running toward him.\nHe raised his face transfigured with an eager joy.\n\"Gosh all hemlock!\" he exclaimed.  \"Here it is at last!  Ruby\nsand--_kon klayu_!  Look, El!  Jean!\"\nAt the edge of the bedrock dark beach sand was mixed with minute\ngarnet-like particles that imparted to it a tinge of ruby.  A first\nglance revealed nothing but rills of water running down through the\nsand carrying it through the depression in the bedrock.  Like live\nthings the atoms crawled slowly along the seam.  Suddenly each watcher\ncaught her breath.  Amid the shifting flow there came a glint--then\nanother.  A second later, in the roughened surface of the bedrock lay\nflakes of virgin gold!\nGold!\nNo thrill that gold can buy ever equals the wild ecstasy experienced by\nthose who find it.  Jean threw her arms successively about her happy\nsister and brother-in-law, and finished by capering over the bedrock\nwith Loll as a willing partner.\nWhen the first excitement had spent itself, Boreland sent the boy to\nKayak Bill and Harlan with word to bring shovels and the wheelbarrow.\nIt was necessary to gather and convey the pay-sand to a place of safety\nbefore the next tide covered it, as the surf of Kon Klayu was too heavy\nto permit surf-mining.  Marking the spot with a piece of drift Boreland\ncontinued down the beach with the others.\nThey followed the shore as far as the site of the West Camp looking for\nfurther patches of ruby sand, but found none.\nHaving learned that by the aid of a hairpin and Boreland's knife they\ncould pick up the colors of gold that were caught in the crevices,\nEllen and Jean were on their knees examining the seams in the bedrock\nwhen Kayak and Harlan arrived.  The particles of gold were\nextraordinarily flat and thin, and the largest flakes only could be\nseen with the naked eye.  There were few of these, but no miner was\never prouder of his spring clean-up than was Jean of the ten colors she\ncollected in her drinking cup.\nHarlan could hardly credit his eyesight when he beheld the yellow\nflakes Jean showed to him. . . .  Gold on the Island of Kon Klayu after\nall! . . .  Then he recalled that on that memorable night of the\nPotlatch dance the White Chief had admitted there was gold, but while\nthe tides occasionally uncovered pay-sand rich beyond most placers,\nthere would follow months when not a single color showed up in the\nsands of Kon Klayu.  It was not a paying proposition.  This deposit of\nruby sand must be what Kayak Bill called a mere \"flash in the pan.\"\nThough he tried not to let his co-workers become aware of it, Harlan\nwas filled with doubts.\nAll that day, while the tide permitted, the men wheeled pay-sand to a\nplace of safety above the high-tide line and the following morning, the\ncart, speeding before a spanking breeze, carried all the mining outfit,\nincluding Loll's rocker, down to the pay-dirt.  Ellen, because of\nhousehold duties was the only one to remain at the cabin.\nOnce more the night-tide had shifted the sands, and they found no trace\nof any gold-carrier.  The bedrock that had been bare the day before now\nlay under several feet of gravel.  The complete change in the\ntopography of the shore was almost weird.  It filled them with\nwondering and a strange respect for the mysterious workings of the sea.\nThe rockers were set up on the beach just below Bear Paw Lake, and with\na flume made of a series of boards nailed together in a V-shape, water\nwas conveyed to the hopper of the rocker.  Jean and Loll, before\nbeginning their own preparations, watched while Boreland and his two\nhelpers rocked out the first gold.  After glints of yellow began to\nappear in the nap of the cloth apron, they turned to their own outfit.\nHarlan solved their water problem by digging a hole below the large\nrocker and catching the waste after it had done its work above.  Long\nbefore the pool was completed he and Jean were on terms of laughing\nfriendliness.  This was the first time he had been with her, without\nbeing uncomfortably aware of the watchful and disapproving eye of\nEllen.  He felt a distinct exhilaration.\nHe poured sand into the hopper while Jean rocked and Loll, detailing\nmuch little-boy wisdom, dipped up the water from the hole beside them.\nThough it was her first year in the North, Jean, he thought, had fallen\ninto the ways of the country with the natural ability that marks the\nyoung sea-gull launching out on the deep.  Evidently she had dressed\nhastily that morning.  Her khaki-flannel shirt, belted loosely with\ngreen leather and worn like a Russian blouse, lay open at the throat.\nHer mass of dark hair was tucked under a green tam o' shanter perched\nat an unconsciously rakish angle.  Unframed by her hair her face had a\npiquant, boyish look, and her wide-set hazel eyes seemed larger than\nusual.  There was a ghost of a golden freckle or two on the bridge of\nher straight little nose.  From her green tam to her stout leather\nboots Harlan could find no evidence of a single feminine artifice--not\na thing, perhaps, that might have appealed to him a year ago,--yet he\nwas conscious of a stir of pleasure as he looked at her.\nHe placed a shovel of sand in the hopper, spilling half of it on Lollie\nwho was at the same moment pouring in water.  The girl laughed at his\nclumsiness, as she loosened her hold on the rocker handle and\nstraightened, tossing her head so that the tam assumed a different but\nequally alluring angle.  Her sleeves were rolled to the elbow.  She had\nthe lithe slimness, and the greens and browns that suggested the\noutdoors.  When she turned away from him presently to look out over the\nsun-lit sea, Harlan rested his shovel in the sand to watch her.\n\"I wonder where my Kobuk is this morning?\"  The remark came from Loll\nsquatting at the edge of the water-hole, waiting for it to fill again.\nNeither answered him.\n\"Have you noticed how clearly, on days like this, one can see the\nmainland, though it is ninety miles away?\" Jean asked, her mind\napparently intent on the far horizon.  \"There seems to be something in\nthe atmosphere that brings it nearer.\"\n\"I whisht I knew where my Kobuk is, I do!\" murmured Loll plaintively.\nThe youngster was evidently getting tired of work.  He was filling the\npail listlessly, emptying the contents over his own red little hand.\nJean's eyes roaming out over the shining ocean spaces, rested upon a\nspot in the northwest.  Very low on the rim of the sea lay a mountain\nrange, its purple and white ethereal in the distance.\n\"I _said_ I whisht I knew where my Kobuk is!\"  There was a slight\nbelligerent tone in Lollie's voice which Jean, doubtless, failed to\ncatch, for she mused on:\n\"Though I know that coast over there is practically uninhabited it\nalways gives me a feeling of being closer to people when I can see\nit--and a sense of delightful unknown things lying just there beyond\nthe range.\" She paused as if contemplating some illusive thought.\nHarlan, looking at her profile, became aware that her chin, while of an\nengaging firmness, had that impalpably soft texture that suggests the\npowdered wing of a creamy butterfly.  He was surprised that he had\nnever noticed it before.  The tam slanted obligingly to the other side\nand left exposed the lobe of a small ear that was as rosy in tint as\nthe delicate tiny clam shells he occasionally marveled at on the beach.\nThe curve at the back of her neck had the look that invites kisses in a\nvery little girl who has her curls knotted up on the top of her\nhead. . . .  He found mining a distinctly agreeable occupation.\n\"You are like a soft, cool breeze from the sea, after a hot day in the\ncity,\" he was astonished to find himself saying.  But his statement was\nlost in a verbal explosion from the enraged Lollie.\n\"Gosh darn it!  _Nobody_ 'll notice _me_!\"  The little fellow was\nlooking up at Jean with petulant indignation.  \"I'm going to find\nKobuk!\"\nHe flung his pail to the sand as if casting all thought of fickle woman\nfrom him and ran off down the beach toward the cabin, deigning not to\nhear Jean as she called to him.\n\"The poor little man!\"  The girl's voice was sympathetic as she looked\nafter the flying figure of her nephew.  \"I know he must feel lonely\nsometimes with no one of his own age to play with.\"\n\"It's a feeling he shares, then, with some of us older ones.\"\nJean glanced at Harlan quickly.  \"Then why--\" she began, and checked\nherself.\nShe wanted to ask him why, if this were so, he had buried himself in\nthe isolated post of Katleean.  She wanted to know why he, young,\neducated, brave, with the world of opportunity before him had immersed\nhimself in the lazy, dreamy life of an Alaskan trading post.  Was he of\nthe stuff that Silvertip was made--Silvertip who was content to do odd\nbits of work for the White Chief at Katleean, for which he took his pay\nin tobacco or some other luxury necessary to his own comfort, while the\nenergetic Senott kept his house, gathered and chopped his wood, salted\nfish, canned berries, dried clams and put down sea-gulls eggs in salt\nfor the winter?  Was this good-looking young creature a squaw-man at\nheart, if not in reality.\nA squaw-man!  She was intensely interested in those strange members of\nthe white race who go native.  She had not the contempt for them that\nEllen felt.  She had only a kindly desire to understand their point of\nview.  In a way she could account for the White Chief.  Katleean was\nhis wilderness kingdom where he ruled white and native alike by sheer\nstrength of arm and will.  Silvertip, ignorant, lazy, weak, she could\nalso understand vaguely.  But there were others.  She recalled a day on\nthe beach at the trading-post when she had met a tall, blond man.  He\nwas sitting on the edge of his canoe nonchalantly smoking a cigarette,\nwhile his Indian wife and four little half-breed children dug clams a\nfew feet away.  One minute he had talked to her of the effect on\ncharacter of the geographical aspect of the country, sprinkling his\nremarks with \"Schopenhauer maintains\" and \"Nietzsche says.\"  In the\nnext breath he had informed her proudly that he and his children were\nof the eagle totem--claiming it by reason of his Thlinget wife's clan.\nThe incident remained vivid in her mind, setting up never ceasing\nqueries of \"Why?\" \"How?\"  Neither Ellen or Shane encouraged her\nattempts to discuss these conditions. . . .\nJean's thoughts wandered on.  It occurred to her that Ellen seemed to\nbe changing, too.  There was not the old freedom of speech between them\nthat had always existed prior to their coming to Kon Klayu.  Perhaps it\nwas her own fault, for lately, especially since the day at the bluff,\nshe had resented Ellen's attitude toward herself and Gregg Harlan.\nThere were many things she wished she might talk over with the young\nman.  Her interest in squaw-men, for instance--but of course that would\nbe impossible, she reminded herself.  She had nearly forgotten--there\nhad been that Indian girl, Naleenah.\nAs if in answer to her unspoken thought, Harlan turned to her\nimpulsively.\n\"There's something I want to tell you, Miss Wiley, about--about that\nlittle Indian girl--\"  He stopped, his tanned face flushing.  It was as\nif he had no words to express himself in terms that she would\nunderstand.  \"You see I--I----\"\n\"Ahoy, there, Gregg!  Jean!  A ship!  Look, it must be the _Hoonah_!\"\nBoreland's joyous call broke in on them.  He had run down from his own\nrocker and was pointing far out where the sunlight fell on the sails of\na vessel heading directly for the Island of Kon Klayu.  It was the\nfirst sail sighted since the schooner went away.\n\"Hurrah boy!  She's coming with the provisions!\"  Boreland tossed his\ncap into the air.  \"Jean, run down to the cabin and tell Ellen the\nglorious news!\"\nThe girl looked at the approaching ship a moment.  Happy as she was at\nthe sight she could not help wishing that Boreland had discovered it a\nfew minutes later.  She leaned toward Harlan.\n\"Tell me some other time,\" she said softly, and with a word to Shane\nstarted for the cabin.\nShe found Ellen, who never threw anything away that might later be used\nfor food, rolling some hard, sea-soaked lumps of flour beneath the\nrolling-pin trying to crush them fine enough to use.\n\"O, angel child, you won't have to save that stuff now!\" Jean shouted,\nbursting in upon her.  \"The _Hoonah's_ coming!  We sighted her!\"  She\ncaught Ellen about the waist and whirled her madly over the floor,\nreleasing her suddenly to dash out the door with a \"Come on, sis!\"\nThe two arrived breathless on the point of the bluff from whence the\nship was visible, and whence the men had gathered.  Jean began eagerly\npointing out the sail, but even as she did so, she faltered.  She\nturned and caught the sickening look of disappointment on the faces\nabout her.  A thin line of smoke was now trailing out behind the\nvessel.  It was not the _Hoonah_, but a steamer.  Also it had swerved\nin its course and now, broadside to the Island, it was headed south.\n\"O-o-o!\"  With a world of hopelessness in her voice Jean uttered the\nsound and threw her arm about Ellen's waist.  Together they watched the\ndeparting vessel with that desperation of heart that hopes, even while\nthe brain knows there is no hope.  A quarter of an hour passed, but the\nship did not change its course.\nThey turned from the sea to find that the men had begun to gather up\nthe tools and the clean-up from the sand.\n\"It's a cannery steamer, El, with the sail up, going to the States for\nthe winter,\" Boreland said, dully.  \"The salmon run is over.\"\nEllen was not listening.  She had taken her eyes from the fast\nvanishing steamer and was looking anxiously down the empty beach toward\nthe far away rockers.\n\"Shane . . .  Shane . . .\" she faltered now.  There was a queer,\nfrightened tone in her voice that sent a chill to the hearts of her\nlisteners.  \"Where is Lollie?\"\nBoreland wheeled about.\n\"Why, he went home to you two hours ago, El!  Haven't you seen him?\"\n\"No!\"  Ellen's alarmed gaze sought his.  Forgotten was the ship, the\ngold, the people about them; forgotten was everything else in the world\nbut the soul-gripping parental fear they saw reflected in each other's\nface.\n\"The grizzly!\"  The mother's white lips whispered the words the father\ndared not utter.  \"O, Shane, come!  Quick!  We must find him!\"\nCHAPTER XXI\nKOBUK\nBoreland and Kayak Bill searched the beach below the cabin for\nfootprints while Harlan took the trail across the Island toward his\nHut.  Ellen and her sister hoping that the boy had returned during\ntheir absence, ran home to look into every nook and corner. . . .  The\nsilence drove them once more into the open.\nEllen, her throat tightening with unshed tears, stood on the porch and\ncalled:\nThe only answer was the mocking cry of a gull floating high in the\nsunlight. . . .\nBoreland came hurriedly up the trail from the beach.\n\"There are no tracks in the sand toward Sunset Point, El, but Kayak is\ngoing along Skeleton Rib toward the cliffs.\"\nAt the stricken look in the mother's face, Jean turned quickly to her\nbrother-in-law.\n\"He must have found Kobuk and gone off adventuring again, Shane. . . .\nBut he can't have gone far with the dog so crippled.  Perhaps he's\npicking flowers,\" she suggested hopefully.\nEllen had started down toward the dilapidated hut where Loll had\nsurprised the swallows on his first morning exploration.  Lying on the\ndoorsill she found some fragrant spikes of late-blooming orchis tied\nwith a grass blade.  Calling to the others she picked up the flowers.\nBoreland answered her with a gesture and after running back into the\ncabin for his rifle, followed.\n\"He loved the yellow flowers best, Jean,\" Ellen said thoughtfully.\n\"Perhaps he has gone to the gulch where they grow thickest.\"\nToward the steep depression in the hillside some two hundred yards\ndistant the coarse grass of the tundra was flattened in spots as if\nsomething had passed that way.  The women seized upon this clue and\neagerly followed the signs.\nWhere the land sloped upward toward the hill they came upon a grave.\nIt was old, so old that the Greek cross at the head was moss-grown,\nbroken and decayed.  Once before Ellen and her son had stood there,\ntouched with the gentle speculative melancholy that a wilderness grave\nalways brings.  Before leaving they had placed a cluster of flowers\nupon it in memory of the bold Russian sailor of long ago, whose body\nlay beneath.  Now there was a fresh bunch of blossoms at the foot of\nthe cross. . . .  At the sight of them quick, hot tears welled up in\nEllen's eyes.  It hurt her to remember Loll's quaint way of talking to\nthe flowers he had picked.\nBoreland, rifle in hand, overtook them just as they entered the gully\nthat ran upward to the flat top of the Island.\nDuring the rainy season the gulch undoubtedly cradled a small stream of\nwater but now it was only slightly damp, and on each side, untouched\nyet by frost, grew a golden profusion of flowers.  Here and there\nfreshly broken stems indicated that Ellen had not been amiss in her\nsurmise as to the boy's route.\nHalfway up they came upon Loll's cap swinging from a dried celery\nblossom.  With a cry Ellen caught at it and clasped it to her breast\nwhile she called his name again and again.  Jean joined her; then\nBoreland took up the name. . . .\nThere was no answer.\nWhen the voices died away at last it seemed strangely, ominously still\nin the sunny, flower-scented hollow. . . .  With a sickening fear that\nshe might never hear her boy's call again Ellen continued to stand\nstraining her ears for the sound of it.  On either side of her a wall\nof yellow bloom arose, shutting her in.  A breath of air stirred the\nfragrance of it,--clean, sweet.  Suddenly, on its scent, there flashed\nbefore her baby-pictures from the realm of her mother-memories--Loll,\ncurly-headed, grey-eyed and laughing, holding out chubby arms as he\ntook his first unsteady steps; Loll's plump, diminutive legs, dancing\n\"tippy-toe\" with comical baby joyousness before he would consent to be\nbuttoned into his nightie; Loll asleep, his little tousled head on the\npillow beside that of \"Shut-eye\" an absurd and dilapidated doll dear to\nhis infant heart. . . .  And once, when she had impatiently slapped his\nfat little hand as it closed on a forbidden object, Loll's baby face\nlooking up at her with hurt, astonished eyes and quivering chin. . . .\nThis last bought stabbed her with poignant regret wounding her heart\nwith such anguish and self-reproach and longing that she burst into\nsobs as she climbed blindly to the top of the gulch.\nOn the crest of the hill all three stopped for a moment, out of breath\nfrom the steep ascent.\nSpread out like a vast beautiful meadow the top of the Island lay flat\nas the palm of a hand.  The tundra, softly green and brown, was\nsplashed with the yellow and rose and purple of late-blooming wild\nflowers.  Small brown pools of water bordered with moss were sunk here\nand there.  To the north and east not a tree or bush broke the level\nbut southward the tundra rose gently toward the top of the cliffs a\nmile or more away, where the air was thick with seabirds.  A narrow\npath, suggestive of heavy padded feet, ran from north to south along\nthe edge of the hill.\nDespite this gentleness, this softness of contour characteristic of the\ntundra meadows of the North, there was a feeling of wind-swept spaces.\nThe air was exquisitely pure.  Jean, looking about her, involuntarily\ndrew a deep, long breath.  Midway between her and the edge of the\ndistant cliffs stood the one lone tree of Kon Klayu--a small gnarled\nspruce, its branches all growing from one side of the trunk, bearing\nmute testimony to the velocity of the prevailing gales.  There was\nabout this tree an air of almost human loneliness and--waiting.  On the\nbrow of the hill it faced the sea like a woman with long, wind-blown\nhair.  Near it rose a dome-shaped mound like an Eskimo hut in form but\nmany times larger.\nAs the girl's eyes followed the trail south she suddenly became aware\nof a small, slowly-moving object, . . . then another.\n\"Oh, Ellen!\"  There was glad relief in her voice.  \"_There_ he is!\nThere they are--Loll and Kobuk!  See!  Their heads are bobbing just\nabove the grass toward the tree!\"\nAt the first exclamation Boreland had started hurriedly along the\ntrail.  The two women followed him calling to the boy as they ran.  But\nLoll, evidently deeply interested in his own small adventures, did not\nhear their shouts.  Kobuk was now hobbling on ahead and despite his\nbandaged leg, was tacking hither and thither woofing in the manner of\nthe huskie when he wishes to bark.  As Loll neared the tree they saw\nhim branch off the trail and a few minutes later disappear around the\nhummock.\nBut Kobuk did not follow.\nWith short staccato woofs he was limping forward toward the crest of\nthe hill and back again.  There was a strange note in the sound.\nPresently he stood still, his long nose raised, wolf-like, as if to\ncatch a scent.\nAt this point Boreland stopped in the trail.\n\"El,\" he said hurriedly, \"you and Jean stay right here.  I'm going to\nmake a short-cut to the hummock.  I'll bring Loll back.  Mind what I\ntell you, _stay_ here!\"\nHe started swiftly across the deceptively smooth-looking tundra, his\nface drawn and ashen.  While Jean watched him, he slipped his rifle to\nthe hollow of his arm.  The movement brought the thought of the bear to\nthe girl.  Her heart thumped against her side.  She glanced at Ellen,\nbut her sister was standing with hand-shaded eyes following the\nprogress of Shane who had covered nearly half the distance to the\nmound.  Jean turned again to the crest of the hill where Kobuk had\nbeen.  He was hobbling toward her.  Even as she looked the dog stopped,\nglanced behind him, then stiffened, every hair along his neck\nbristling.  He stood as if sniffing the wind which was blowing toward\nher.  Then he came on.\n\"Kobuk, what's the matter, Kobuk----\"\nThe girl broke off with a gasp of terror.  In a fascination of fright\nher gaze became fastened on a spot beyond the advancing Kobuk.\nOut of the bushes that crowned the edge of the hill a great, hairy head\nwas slowly rising.  Followed the massive arches of shoulders, the whole\npowerful body.  An instant later the vast bulk of a Kodiak bear, with\nlow-hung swinging head, was outlined against the growth behind.  A\nmoment it stood, looming huge, brown, fearful--the most dangerous beast\nthat roams the Alaskan wilderness.  Then deliberately it came to its\nhaunches, its immense paws dangling in front, its monstrous head and\nneck turning from side to side. . . .  Dropping to earth again it\nslouched heavily in the direction of the hummock where Lollie had\ndisappeared.\nJean turned swiftly to see if Boreland were aware of the proximity of\nthe creature, now making for the opening to its den on the other side\nof the mound--a den which Loll no doubt was at that moment exploring.\nHer brother-in-law was preparing to spring across one of the little\nbrown pools. . . .  Then, to her despair, he stumbled, and one leg went\ndown in the soft muck of the farther edge.  As he fell, he tried to\nthrow his rifle to the bank, but the heavy, metal-stayed butt jammed\nagainst his hand.\nJean held her breath.  For a long moment he did not move.  Had he\nbroken his leg?  Had he--?  She sobbed with relief.  He was beginning\nto struggle out; but, even in her excitement, she noticed that he did\nnot use his right hand.  It hung limply from the wrist.\nEllen must have seen the beast as soon as Jean for as her husband fell\nshe was dashing away across the tundra to him.  Jean's mind wrestled\nwith the situation.  With his right hand useless, Boreland, good shot\nthough he was, could never send the single bullet that must kill the\ngrizzly.  They could risk no fight at close range with a wounded and\ninfuriated Kodiak bear.  Jean remembered her sister's unusual skill at\ntarget practice on the _Hoonah_.  Jean herself was a good shot but\nEllen could, unfailing, hit a bull's eye at twenty paces, though she\ncould never be persuaded to shoot at a living thing.  Would she have\nthe courage, the coolness, to face the monster in that critical moment\nwhich meant life or death to her son?  Would she _be_ in _time_?\nNow the bear had traversed more than half the distance to the hummock\nand was still lumbering along.  She must stop him, must at least delay\nhim--she and Kobuk--so that Ellen might reach the other side of the\nmound before him.\nShe ran to meet the dog.  Snatches of hunting tales Kayak Bill had told\ncame to her--tales of northern huskies hamstringing wild beasts.  She\ndid not know what the term meant, but Kobuk could do it.  Kobuk, the\npowerful, the swift, the beautiful. . . .  Then she remembered--Kobuk's\nright foreleg was crippled and still tightly bandaged. . . .  Kobuk\ncrippled stood no chance against a Kodiak bear!\nShe came up to him.  At her approach, as though reinforced by her\npresence, the dog turned clumsily on three legs to face the beast.\nLow, savage growls issued from his throat.  His lips curled away from\nhis sharp fangs; spasms serrulated his nose; the hair along his spine\nrose and fell.\nJean patted his side.  Sick at heart she urged him forward.  She\npointed desperately to the monster.\n\"Mush, Kobuk!  Sick 'im, old boy!\"  She forced enthusiasm into her\ntones.  \"Go head him off!\"\nThe dog limped a few feet.  He looked back at her, his ferocious look\nsoftened.  His crippled leg hung useless.  He raised clear, questioning\neyes to her face.\n\"Oh, Kobuk, darling, I know--I _know_--\" the girl's voice broke.  She\nknelt and threw her arms about him.  \"But you must do _something_!\nKobuk, you must!\"  She pleaded with him as if he were human.\nOnce more the dog looked at her, his dark, intelligent eyes fearful and\nsad.  He gave a half-hearted little woof, shifted on his three legs and\nrested his head a moment against her knee.\nShe sprang up and ran a short distance ahead of him.  Again she pointed\nto the bear.\n\"Mush, Kobuk!  Oh, go after him, boy!\"\nHe started.  Once more his hair bristled ferociously.  Then suddenly,\nto Jean's dismay, he turned and instead of heading the bear off, began\nto make a detour behind it.  Forgetful of all else but the necessity of\ndelaying the beast, she ran after the dog shouting encouragement.\nAs he left her behind he gathered speed.  He swerved, making straight\nfor the back of the bear.  His woofing sounds had ceased now.  He was\ngrimly silent.  The instincts of his wolf ancestors at the sight of\nquarry must have awakened in his heart making him forget his bodily\npain, for as he sped on in his desire to maim and kill, he put his\nbandaged leg to the ground with increasing frequency.  By the time he\nreached the animal, gone was the friendly, gentle Kobuk Jean had always\nknown.  In his place rushed a new and terrible Kobuk--a snarling,\nleaping devil-dog, with blazing eyes, white fangs gleaming in a\ndripping mouth, little ears laid back against a lean, wolf-like head.\nHe attacked the bear from behind, nipping it slightly.  The huge beast\nstopped and whirled in clumsy astonishment.  For a moment it looked\nalmost curiously at the white-fanged fury leaping away.  Then turning\nlumbered on again toward the mound.  The monster had lived so long on\nKon Klayu undisturbed by man or beast that it was apparently\nindifferent to both.\nBut Kobuk, cripple though he was, would not be ignored.  Again he\ndashed at the bear, seeking to nip it from the rear.  Again he\nretreated.  Repeating his maneuvers he kept on, until suddenly Jean saw\nthe beast whirl viciously.  Its cumbersome bulk stiffened, its little\neyes gleamed with rage.  It rose on its hind feet, its monster head\nswaying from side to side.  Then the girl stopped, horrified, dazed at\nthe unequal battle that ensued.\nShe had a confused memory of a huge upstanding creature laying about it\nlike a fiend with great furry arms.  She saw her dog, crippled, but\ndauntless, ever dodging, wheeling, leaping, circling and attacking from\nbehind the moment the bear's back was toward him.  She saw Kobuk catch\nglancing blows from the mighty claw-barbed paws and roll five feet, ten\nfeet.  She saw him battered, bleeding, panting, struggling to his feet\nagain and again to renew his losing fight.  Backward and forward over\nthe tundra they fought, swiftly, savagely, yet despite it all ever\nnearing the mound.  Then all in a moment--they disappeared around the\nedge of the hummock.  To the girl it was as if the earth had swallowed\nthem.  She stood for a moment bewildered.  But remembering, she turned\nto where she had last seen Ellen and Shane.  Her sister was not in\nsight, but Boreland was limping around the opposite end of the mound.\nHe carried no gun.  Then he, too, disappeared. . . .  A second later a\nshot rang out--then another.  After that was silence.\nThe sound of the rifle galvanized the girl into action.  With wildly\nthumping heart she sped toward the scene of the shooting, dreading what\nshe might find there.  Rounding the hummock she stopped, staring at the\nscene before her.\nA few feet from the cave-like opening in the hillock, lay the great\nbear dead, but with limbs still twitching.  It had been shot fairly\nthrough the shoulder and into the heart.  Ellen, the rifle at her feet,\nstood sobbing against her husband's breast.  His sound hand patted her\nback mechanically, but his eyes were fixed on something beyond.\nJean's followed them.\nLoll was sitting flat on the ground beside the prostrate body of Kobuk,\nholding the dog's head on his knees.  Kobuk's great dark eyes, swimming\nin tears of pain, were raised to the child's face, in a look so sad,\nand withal so full of love that Jean started forward, a cry breaking\nfrom her heart.  From shoulder to thigh the dog was a bleeding horror\nwhere one whole side of his faithful body had been raked by the iron\nclaws of the bear.\n\"Oh, my Kobuk!  My dear doggie!\"  The little boy sobbed and laid his\ncheek against Kobuk's head.\nThe dog moved slightly, and his pink tongue went out weakly to lick his\nsmall comrade's face.\n\"I won't let him hurt you no more now, Kobuk,\" crooned Lollie,\nprotectingly.\nJean sank on her knees beside him.\n\"Kobuk--dear old--Kobuk--\" she murmured brokenly, stroking a limp, hot\npaw.\nThe dog's dimming senses must have caught the sound of his name, for\nhis tail moved feebly as if, with the last beat of his brave heart he\nwas trying to wag goodbye. . . .  He lifted his head, . . . a shudder\npassed through him.  Then he lay still, his wide, glazing eyes fixed on\nthe little boy's face.\nJean buried her head in her arms oblivious to everything but the wild\ngrief that shook her.  But Lollie, not realizing that Kobuk was dead,\nsat patting the relaxed bandaged leg, while he whispered childish words\nof comfort in the unheeding ears.\nCHAPTER XXII\nAT THE LONE TREE\nThat evening they buried Kobuk on the brow of the hill near the lone\ntree of Kon Klayu.\nAt sunset time Loll sat by himself on the cabin steps.  His chin was in\nhis hand and his wide, grey eyes were fixed on the clear rose of the\nwestern sky.  It was the first time that death had come near to him and\nthe mystery and loneliness of it filled him with strange, new thoughts.\nFor a long time he looked into the fading glow.  Then he shook his head\nslowly, reproachfully.\n\"God,\" he said, in the uncanny way he had of seeming to converse with\nDeity.  \"God, how can you smile so, when my Kobuk is dead?\"\nThe purple dust of twilight sifted down on land and sea, . . .  At\nlast, awed by the unanswerable mystery of life and death, the little\nquestioner turned in to the cabin, where his mother sat sewing in the\nsoft, yellow light of the shaded lamp. . . .\nBreakfast the next morning was an event.  Harlan had accepted Ellen's\ninvitation to be present, and as he entered the cabin, the air was\npermeated with the delicious smell of frying steak.  With the exception\nof ducks the party had eaten no fresh meat for a month before coming to\nthe Island, and the recent daily breakfasts of musty oatmeal and\nhotcakes was becoming monotonous.  Despite the tragedy of Kobuk, it was\na grateful family that gathered about the big platter of bear meat and\nsteaming cups of black coffee.\n\"This ought to tide us over nicely until the _Hoonah_ comes,\" said\nBoreland helping himself to another piece.  \"A fine breakfast, El!\nUpon my word, it couldn't be better if we were in the States. . . .\nStill--I'd like a bit of butter--real, honest-to-God cow's butter--on\nmy hotcakes!\"\n\"Wall,\" mumbled Kayak with his mouth full of steak.  \"Sugar and like\nsweetenin' hits me where I live.  I used to think if they took away my\nsugar I'd just as lief die.  But now that there ain't any, I'm\nscratchin' along tolerable wall.  But--I'd give my hat for somethin'\ntasty to smear on these here sourdoughs!\"\n\"Go on with you, Kayak!  With El's sourdoughs you don't need\nsweetening.\"  Boreland laughed.  \"We can use bear fat instead of butter\nnow, for that old devil certainly was fat.  We'll try some of it out.\nOf course we won't need much, for the schooner will be in any day now.\nWe'll smoke part of it and put the rest down in salt.\"  He leaned back\nin his chair and drew contentedly on his pipe.\n\"By h-hen, a smoke does taste mighty good after high-toned grub like\nthis,\" drawled Kayak, surrounding himself with a cloud.\n\"You men smoke too much,\" Ellen broke in.  \"Sometimes I'm convinced\nthat pipes bear the same relation to men that pacifiers do to babies.\nAt the rate you three are going, you'll be out of tobacco in no time.\nIf the _Hoonah_ doesn't----\"\n\"Holy mackinaw, El!  You're eternally seeing the hole in the doughnut\nlately!\" her husband interrupted somewhat testily.  \"Of course she will\nbe along right away.  No man would leave us on this island long without\nprovisions.  It wouldn't be human.  And about smoking\"--he waved an\nairy hand--\"why I can quit any time I want to and never miss it.\"\n\"Same here.\" Kayak puffed out another tobacco-scented cloud.  \"I'll\ntell a man no measly habit ever got a strangle holt on me.\"\nHarlan said nothing.\nAfter breakfast the clean-up from the rockers was panned and freed from\nsand.  Boreland weighed the dust in the new gold scales.\n\"Four ounces,\" he announced, as they balanced.  \"That ought to bring us\nabout sixty dollars.  Not bad for one day's work.  If we can only find\nenough of that sand we'll make a stake here, boys.  Gad, I wish the\n_Hoonah_ would get here so we could establish ourselves permanently.\"\nBoreland had been trying to induce Kayak to remain with him on the\nIsland.\nThe remainder of the day was spent in getting the bear meat to the\ncabin and preparing it for preservation.  The Indian hut where Loll had\nsurprised the swallows was cleaned out and fitted up as a smoke house.\nHarlan cut and brought in several back-loads of alder to furnish\nhard-wood smoke to cure the meat.  The women were busy indoors trying\nout the fat.\nAfter the fire in the smoke-house had been going some time, Kayak Bill\nsauntered in with a can full of ashes.\n\"These here's hard-wood ashes, Lady,\" he told Ellen.  \"We ain't got no\nwhite man's antiseptic medicine now, and I reckon we better make some\no' the Injine kind.  Put warm water on these and let 'em stand\novernight.  You'll have an antiseptic then that'll be a ringtailed\nwonder, Lady.\"\nAs they worked about the house that morning Ellen and Jean discussed\nthe shooting of the bear.  It was the sight of the monster tearing her\ndog from shoulder to thigh that had calmed Ellen.  Her fear was\nswallowed up in a gripping desire for revenge that made it possible for\nher to take careful aim and fire.  Jean knew that Ellen had experienced\nnone of the thrills that come to the hunter of big game.  She was a\ndomestic woman, a home maker, thrown by circumstances into situations\nwhere she was forced to do things she never dreamed she could\ndo--things she shuddered over afterward.  Even as she told of the\nincident it seemed to both women like a tragic and terrible dream--a\ndream whose influence would not leave them.\nOn this day the sisters were heartily sick of life on the Island of Kon\nKlayu.\nJean's depression continued all day long.  The thought of Kobuk never\nleft her.  She found herself recalling his friendly, wagging ways; the\nfeel of his muzzle nosing her hand; his soft eyes looking up at her\nfrom attentive, side-turned head.  She found herself regretting that\nKobuk was not there to share the fresh meat with them.\nSeveral times during the day she stopped in her work to lift her head,\nlistening.  She kept fancying she heard Kobuk's husky woofing.  Once\nshe went to the door and looked out to convince herself that he was not\nthere.  Down at the smoke-house Lollie, whom she had expected to be\nloudly inconsolable at the death of the dog, was helping the men.  He\nhad his old revolver tied to his waist and was shouting lustily.  Jean\nfelt a pang of disappointment in her nephew.  She would have had him\ncome to her and talk of the dog.  Womanlike, she wanted to comfort him\nfor the loss and in so doing ease her own grief.  Kobuk had been her\ndog and Loll's.\nShe stepped back into the living-room.\n\"I suppose it's the nature of the male to forget quickly,\" she said.\n\"Forget what?\" Ellen asked, the word \"male\" causing her mind to fly at\nonce to Harlan.\n\"Oh--nothing.\"\nWhile the girl was doing up the supper dishes she heard Loll go\nwhistling down the trail.  When she had finished she took her violin\nfrom its case and stepped out on the porch.  Kayak and Boreland were\nengaged in a close game of double solitaire.  Ellen, with a headache,\nwas lying down in Lollie's bunk.  Harlan had gone across the Island to\nhis Hut.  It was very lonely.\nShe put down her violin.\n\"I'm going for a walk, Shane,\" she called through the open door.\nDown past the smoke-house and the Russian sailor's grave she went; then\nup the gulch that led to the top of the hill.  There were no animals to\nbe afraid of now.\nOn the crest she turned her back on the flat lonesomeness of the tundra\nand looked down on the wide expanse of ocean spread below.  The day was\ndying in soft flushes of amber and rose and lavender.  Life on Kon\nKlayu was hard, but she never tired of the soothing beauty of its\nnights.\nHer eyes followed the trail to the solitary tree facing the sea like a\nwaiting woman with long, wind-blown hair.  In the fading light its\nhuman aspect brought a sense of comfort to the girl.  It made Kobuk's\ngrave seem less lonely.  She wished Loll were with her, she would go\nthen and see how the men had left him.  Poor Kobuk, with his dear,\nfriendly ways!  Everyone but her seemed to have forgotten him\ntoday--even Loll.  Suddenly she decided she would go by herself.\nShe was startled by the sound of a step behind her.  Glancing over her\nshoulder she saw Gregg Harlan coming from the north along the bear\ntrail that skirted the bushes at the edge of the hill.  She waited for\nhim.\n\"I was headed for there, too,\" he said simply, indicating the tree down\nthe trail.\nThey walked silently in single file along the narrow path.  The\nsweetness of a long sunny day came up from the grass that brushed\nJean's skirts.  For many minutes the new mound they were approaching\nwas screened by the tall growth, but when they saw it, Jean stopped\nabruptly, her finger on her lips.  From the grave came to them a\nmuffled sound.\nLoll was there before them.\nThe little fellow, oblivious to everything but his loneliness and his\nloss, lay across the fresh turned earth.  His bare head was buried in\nhis outflung arms.  One hand fiercely clutched a few bruised flowers\nand his small body shook with long, slow sobs.\nJean's throat tightened and tears of sympathy flooded her eyes.  With\noutstretched arms she started impulsively forward to comfort him, but\nbefore she had taken a second step Harlan laid a detaining hand on her\narm.\n\"Not now,\" he whispered.  \"Come.\"\nHe drew back along the trail.  Wondering, she followed until they were\nout of earshot.\n\"We'll wait for him here at the top of the gulch, Jean.\"  It was the\nfirst time he had called her that.  Each was aware of a sudden, warming\nsense of comradeship--a sense of sharing something tender, sad.\nThey sat down on the crest of the hill, so close that only a single\ntundra daisy nodded between them in the deepening twilight.\n\"Why--why did you do that, Gregg?\"\nHe did not answer at once. . . .  Up from the sea came the susurrous\nvoice of the reef whispering its eternal questions.\n\"Because--men, real men, bear their griefs silently, and alone,\" he\nsaid at last.  \"It is their way.\"\nJean thought of the little fellow, so childish in many ways, but silent\nall day on the subject of his loss.  He had gone to cry out his grief,\nunseen, on Kobuk's grave. . . .  Suddenly she loved him with a\ntenderness she had never known before, but . . . with it came a new\nloneliness.  It was as if already his boyish hand and shut her, a\nwoman, from that place in his heart that only men might know and\nunderstand.\nShe rested her elbows on her knees and cupped her chin in her hands.\n\"Oh--o--o,\" she said, reflectively.  \"I did not know.  I did not dream\n. . . men were like that.\" . . .  The hearts of men . . . it was\nstrangely sweet to know what lay hidden in the hearts of men.\nThe faint, disembodied cry of a seabird keened across the dusk.\nFormless waters stretched away into the wide, beckoning dimness.  The\ntwilight wind was pungent with the strange awakening smell of the sea.\nForgotten now was the depression of the day; it had no place in the\nromance, the mystery, the promise of the northern night.  She became\nsuddenly conscious that there was something sublimely beautiful in life\nthat she had never yet experienced, something that unknowingly she had\nbeen waiting for; something that must come to her at last. . . .  She\nwondered if the young man sitting so close to her were ever stirred by\nsuch rapturous, intangible thoughts.  With quickened interest she\nturned to look at him, and met his deep eyes intent on her face.\nSomewhat confused, he snapped off the head of the daisy between them.\n\"I--I was just wondering what you were thinking about, Jean.\"\n\"I was thinking about you,\" she answered candidly.  \"I was\nwondering----\"\nThere came the sound of little running feet on the trail near them, and\nthe girl rose hastily, calling Loll's name.\n\"Don't be afraid, honey.  It's I--Jean!\"\nBreathless but relieved at the sight of them, the boy joined them and\nthe three went slowly down the gulch toward the cabin.\nBefore the porch Harlan stopped.\n\"No, I won't go in now,\" he said in answer to her question.\nThey stood a moment, a sudden shy silence falling upon them. . . .\n\"Good-night, Jean.\"  Slim and tall, he stood looking down at her\nholding out his hand.  Hers went out to meet it and the pressure of his\nstrong, slender fingers sent a thrill to her heart.  She was stirred by\nthe magic of his nearness.\n\"Good . . . night,\" she whispered wonderingly.  She longed to linger\nthere in the dusk with him, but--because of her desire--she turned and\nran up the steps to the cabin. . . .\nTen minutes later she stood in the twilight on the bank below the\ncabin.  The sea, the night, the world seemed to hold out loving arms to\nher.  A feeling tremulously new and enchanting had come to her. . . .\nShe tucked her violin beneath her chin and drew her bow softly across\nthe strings.  This night she could play as she had never played before.\nThis night she must play.\nThe music floated up through the dusk with dreamy, questioning\nsweetness. . . .  Time slipped by. . . .  At last she drifted into the\nnotes of her good-night.  She felt that there was a special tenderness\nin the chords from her long-drawn singing bow tonight.  Lost in the\nharmony of her own creating she hardly knew when the voice--his voice\nfrom the hilltop, took up the strain.  So softly was it done that she\nwas unsurprised.  The words came down to her now clear, mellow,\nthrillingly masculine, and--did she only imagine there was something\npersonal in them?\n  \"In the West\n  Sable night lulls the day on her breast.\n  Sweet, good-night! . . .  Love, good-night!\"\nCHAPTER XXIII\nELLEN\nThe days passed.  They were growing noticeably shorter now and provisions\nwere getting low.  The trail up the steep hillside behind the cabin\nbecame hardened by the feet of the watchers alert for the hourly expected\narrival of the _Hoonah_.  At the top which they all had come to call the\nLookout, every hour of the day found some one of the party anxiously\nscanning the ocean toward Katleean.\nMany cannery steamers and whalers on their way south were sighted, but\nall gave the Island a wide berth.  The hundred reefs of Kon Klayu had no\nlure for sailors of the North Pacific.\nBoreland, who never failed to patrol the beach daily, found one more\npatch of ruby sand, which the three men rocked out.  He weighed the gold\nafter the clean-up.\n\"This sand is richer than the other batch, El!\" he exclaimed\nenthusiastically.\nFor a moment Ellen eyed the yellow gleam of the dust without interest,\nthen she leaned over and dipped her fingers into the golden flakes,\nletting them fall slowly back into the scales.\n\"Shane, Shane\"--she turned away and patted his arm maternally--\"you are\nlike a little boy playing with wooden money.\"  What value had gold on the\nIsland of Kon Klayu, she thought, where it could not buy an ounce of food?\nTo Ellen Boreland these were days of anguished conjecture, of harassed\nindecision.  As they passed with no sign of the _Hoonah_ she began to\nrecall her last week at Katleean.  On the screen of her mind appeared\nover and over again the White Chief's dark face, in her ears the voice of\nmemory repeated his softly-spoken, enigmatic words:  \"Remember . . .\nyou'll want me. . . .  The pigeon loose, comes back . . .  I will\nunderstand.\"\nThe _Hoonah_ was overdue. . . .  Was this then what he had meant?  Was he\nnow holding the schooner believing that in her anxiety for the safety of\nher loved ones she would release the bird?  Was he trying to force her,\nat such a cost, to buy from him the lives of those dear to her? . . .\nHad he planned this thing from the beginning?  Was he even now at the\npost waiting--certain that eventually she must release the pigeon?  The\npicture unnerved her to the point of panic.  And yet she tried to\nreassure herself.  No man, however cruel and pitiless, could deliberately\nplan so monstrous a thing.  She tried to find excuses for the non-arrival\nof the _Hoonah_. . . .  Perhaps the fall steamer had not come in on\ntime. . . .  Perhaps some accident had happened and the White Chief was\nhaving the schooner repaired.  Surely he would come, if only to ascertain\nthe fate of his bookkeeper for whose safety Silvertip must account.  But\nSilvertip--had the Swede told the truth?  Might he not have said that\nyoung Harlan had preferred to stay behind and had been safely landed with\nthe party?  Then it occurred to her with a fearful knowledge that to the\nWhite Chief of Katleean the life of a man meant nothing.\nWhile she went about her household duties there came to her again and\nagain the sound of the white trader's sardonic: \"I have presented your\n_son_ with a pigeon.\"  Not to her, nor to Jean had he given the bird, but\ndeliberately he had made a present of it to her little boy that Loll\nmight innocently love and care for the thing designed to be the symbol of\nhis mother's shame!\nTo her harassed mind the bird came to have a hideous vitality.  There was\nsomething uncanny in the way it thrived in its captivity--as though it\nfed on her distress.  And almost like a conspiracy was the determination\nof her loved ones to preserve it.  Loll was devoted to it, especially now\nsince the death of Kobuk; it was his only playmate.  Shane was\nparticularly zealous in his care of it, exercising the bird by means of a\nlong string, since Loll would permit no one to clip its wings.  Even\nKayak Bill was always bringing it green stuff to supplement its diet of\nrolled oats.  Only Jean appeared indifferent to the bird--Jean, always\ntender of dumb things.  She had remarked, once, that it's smoke-grey\ncolor reminded her unpleasantly of the eyes of the White Chief.\nSometimes, in a kind of fury, Ellen wondered if the pigeon bore a charmed\nlife--if it _could_ not die!  Dead, her problem would be solved for\nher. . . .  Yet she dared not let it die. . . not while there was a\nchance--!  Standing before the cage day after day, Ellen would torment\nherself with a thought.  If she should leave the door unlatched, so that\nit would jar open . . . if, of its own accord, the bird should fly away!\nThen, when the White Chief came she could disclaim all knowledge of its\ngoing. . . .  But there was the lock of her hair, about which she had\nlied to her husband.  It was still in possession of the trader who,\nsecure in his power over everyone in his wilderness kingdom, was capable\nof any melodramatic folly, of any false tale.  And Shane, hot-headed,\nprotective--she shuddered.  In her overwrought imagination she saw her\nhusband's hands stained with another man's blood. . . .  No, the bird was\na kind of _thing_ fastened upon her which she could not, must not in all\nconscience lose.\nTorn by these conflicting emotions and sick with foreboding, she would\nturn away from the cage.  Tomorrow--she would wait until tomorrow.\nPerhaps the Hoonah would come tomorrow.  Perhaps it was even in sight\nnow!  With hope and longing so intense that it bordered on despair she\nwould leave the cabin and climb to the Lookout to scan the empty sea.\nOne sunny afternoon she was standing there alone watching a dark streak\nof steamer-smoke move slowly southward.  Below her, stretching away to\nthe wide horizon lay the sea, its great, smooth swells heaving jade-green\nin the sunlight.  Autumn color lay over the tundra moss, the rice-grass,\nthe short alder bushes.  Autumn, a soothing autumn was in the air,\npromising the northern world of growing things a long, snow-enfolded\npeace; but herself and her little family--what?\nFor some time she had half-consciously been aware of a strange encircling\nhush.  She looked about her and realized that nowhere was a seabird of\nany kind.  Then far out, a dark mass like a fallen cloud, challenged her\nattention.  Even as she wondered it rose into the air and began to\nadvance swiftly toward her, . . . it resolved itself into thousands of\nsmall black birds.\n\"The sea-parrots!\" Ellen spoke aloud in her surprise.  \"They must be\ngoing south.\"  She had not known that this would happen.  She felt a dull\nregret that it should be so.\nWith crimson beaks pointed south they came nearer and nearer, until,\nflying directly overhead, they cast a shadow as if a cloud had passed\nover the sun.  The sky was black with them.  Noiseless on the wing, there\nwas something ominous in the sea-parrot's silence during the quarter of\nan hour in which they flew steadfastly over the island on their course.\nEllen watched them with an interest divided between wonder and awe.\nBefore they had passed an increasing wild chorus came to her ears.  She\nturned to face the north again where another cloud--grey-white--was\ncoming.  She knew it to be composed of her noisiest neighbors, the gulls,\nbound also for southern shores.\nOver the island these birds sailed with gay squawkings, their wide wings\nseeming to wave a contemptuous good-bye.  It was as if they scorned, yet\npitied the human creature below who must stay behind because she had no\nwings to bear her away.\nThe last call dimmed and died.  Despite the lazy swash of the swells on\nthe beach below the sunny afternoon was heavy with silence.  Ellen's eyes\nswept the vast circle of the distance.  The smoke of the south-bound\nsteamer was no more.  Far down the tundra toward the cliffs stood the one\nlone tree of Kon Klayu facing the sea like a waiting woman with long,\nwind-blown hair. . . .  An appalling sense of loneliness flooded Ellen.\nA sudden, overwhelming need for human companionship swept her. . . .  She\nturned hastily into the trail that led down to the cabin--then checked\nherself, as the sound of some one whistling came to her.  She glanced\nback.\nWalking briskly toward her along the tundra trail that led from his Hut\nto the Lookout came Gregg Harlan.  He must recently have borrowed Shane's\nrazor, for the soft, dark beard that had shadowed his face was gone.\nBareheaded, he advanced swingingly, vigorously, his chin up, his whole\nfigure the personification of youth, confidence, and a new strength.  For\nthe first time Ellen was glad to see him.\nAs she waited for him to approach she studied him with interest.  He had\nchanged much since his landing on Kon Klayu.  Under the rigors of\nhardship, of physical labor, of abstinence, he had developed a clean-cut\nmasculinity that was strangely reassuring.  She remembered how\nunconsciously, during these past weeks, she had turned to him for the\nsteadiness which others had lacked; how instinctively she had counted on\nhim for a perception of the little things, the smaller needs, which are\nso often the greater ones.  After all, she reminded herself, in the day\nby day stresses of life, it was this gift of understanding, of sympathy\nwith the innate needs, that counted so tremendously.\nShe pictured Jean, with her warm emotions, her love of the finer beauties\nof life, thrown into the rough and changing currents of existence as the\nwife of a man older, sturdier, perhaps, than Gregg, but without his\nsteadier gentleness.  Ellen shrank instinctively from the thought.  And\nGregg had changed--of that there was no doubt.  There was no longer a\nsign of his old subservience to the poisonous brew of Katleean; instead\nthere was every evidence that he was not another man, but in a greater,\nstronger way, the man he had once been.\nAfter all, Ellen thought, who was she to determine for Jean the sort of\nman the girl should choose--she who had permitted herself compromising\nentanglements with such a one as the White Chief!  With Gregg Jean was\nsafer at that moment than was she in her own tragic situation--safer and\ncleaner in her motives! . . .  With something of appeal for the steadying\npower of his friendship in her need, whose eventualities would be as\nvital to Jean as to herself, Ellen turned with a new warmth in her manner\nto greet the young man.  Discussing the phenomenon of the bird migration,\nshe went with him down the trail to the cabin.\nAs they approached the house Lollie came rushing up from the beach,\nholding something tightly in his little hand.  He was shouting excitedly\nand at his urging the family gathered curiously around him to find\nthemselves electrified at the disclosure of what the youngster held.  It\nwas a nugget, fully an ounce in weight!  He had found it, he explained,\non the bedrock below Bear Paw Lake.\nBoreland went off immediately to prospect with Kayak Bill and Harlan.\nContrary to all previous experience, this gold had not been uncovered by\na storm--there had been no storm.  Then there must be a place where the\nyellow metal lay otherwise revealed.  Somewhere on the Island must be a\nmine of gold.  Harlan, who had spent an inattentive year at a school of\nmines before he was requested to leave, began to take an interest in the\nsituation.\nShane returned that night long after the others, without having found\nanother sign.  Nor was he any more successful, when day after day he\ncontinued to patrol the beaches, though his faith in the sands of Kon\nKlayu remained unshaken.\nEllen and he were returning one afternoon, from Skeleton Rib where they\nhad gone to look for pay-sand.  He had recovered the use of his sprained\nwrist and had brought along the shotgun.  Opposite the little lake in\nthis vicinity they turned in from the beach.  A drizzling rain had begun\nto fall.  The dead yellow grass lay flat on the ground.  The bare brown\nbranches of the alders were hung with globules of water which fell,\nwetting Ellen as she brushed through them.  Out on the lake she caught\nglimpses of a flock of belated mallards, but since there was now no\nupstanding vegetation it was difficult for the hunters to hide their\napproach.  Crouching low behind an alder Ellen watched Shane creep up\nwithin shooting range.  Since the gun was an old thing held together by\ncopper wire, and went off at the slightest jar it was impossible to carry\nit loaded.  Shane paused, inserted the shells, raised the piece and took\ncareful aim.  There came a loud report, a whirr of wings, and the next\ninstant Shane fell backward, one hand flung upward to his head.\nEllen sprang to where he lay motionless, blood streaming down one side of\nhis face.  Even in her anguish she noted that the gun barrels had burst\nfrom the force of overloaded shells.  Swiftly she plunged her\nhandkerchief into the water and uttering incoherent entreaties and\nendearing names, began to bathe his face which already was beginning to\nswell.\nFor what seemed a long time Shane did not move.  Frantically she tore a\nstrip from her lawn chemise and bound up his head to stop the flow of\nblood.  Then with all her strength she sought to raise him from the\ngrass.  His head fell limply back exposing his bare brown throat to the\nfalling rain.\n\"Shane . . .  Shane . . .  O, help me, dear!  Please!\"  Cold fear gripped\nher and made her voice tremble.  She struggled once more to raise his\nheavy body.  She was unable to lift him.  Calling him, imploring him, she\ntried again and again, until at last he sat up slowly, groaning and\nputting both hands to the bloody bandage about his head.\n\"Come, dear--\" her voice broke as her shaking hands tried to assist him.\n\"We must go home, Shane.  Come now.\"  As if he were a child she coaxed\nand encouraged the stunned man until he rose painfully, swayed, and\nsteadied himself against her.  After a lurching step or two he managed to\nkeep his feet and in silence that struck to her heart, he suffered her to\nlead him along through the soft, drizzling rain.\nEllen found only Harlan at the cabin.  Without a question the young man\nsprang to her assistance.  He helped Shane into the house and to bed.\nThe last of the antiseptic had been used for Kobuk.  Ellen ran for the\nclear water from the hard-wood ashes--the Indian antiseptic which Kayak\nBill had induced her to make, and while she held the basin Harlan washed\nthe blood from her husband's face.  The sight of the wound sickened her.\nJust below Shane's right eye was a livid gash two inches long.\nWhat could she do?  In some way stitches must be taken to draw the edges\ntogether, but how?  She had nothing but ordinary needles and thread.  She\nblamed herself bitterly for leaving Katleean without a medicine chest.  A\nmoment she thought of that one, ordered from the States, which was to\narrive on the _Hoonah_.  Then again she set her mind to the solution of\nthe problem before her. . . .  It came to her in a flash, one of Kayak\nBill's tales of an Eskimo woman's ingenuity!\n\"Gregg!\"  She spoke firmly.  \"Hand me the scissors.\"  She took the\nhairpins from her hair and it fell in a heavy coil to her waist.  Harlan\neyed her as though he feared she had suddenly gone insane when she cut a\nstrand of hair and held it up to him.\n\"We'll boil this and some needles, Gregg,\" she continued quietly, \"and\nwhen they are sterilized you must help me put the stitches in this\nHalf an hour later it was over.  Shane lay back on his pillow.  Ellen\nwatched beside him stroking his hand which lay twitching on the coverlet.\nSomething in the outline of her husband's long, still body under the\nblankets chilled her with foreboding.  Heretofore the thought of hunger\nonly had been with her.  Now, should sickness or further accidents come\nupon them . . .  Should Shane develop blood-poisoning . . .\nLike one doomed Ellen's eyes sought the wall calendar.  NOVEMBER 1 met\nher gaze with the force of a blow.  The _Hoonah_ was already two weeks\noverdue!\nSuddenly she bent and rested her head against the blankets, pressing her\nquivering lips fiercely, passionately against her husband's thin hand.\nTomorrow . . .  Tomorrow she must--she _would_ release the pigeon!\nCHAPTER XXIV\nMAROONED\nSix hours later Kon Klayu was cowering in the blasts of the most\nterrific storm yet experienced by the adventurers.  The fearful\nvelocity of the wind and rain made it impossible for Kayak Bill to keep\nhis tent erected, and in the middle of the night he was forced to move\nhis bedding into Jean's and Lollie's room, where the sisters helped him\nscreen himself off by tacking up a tarpaulin.\nAfter Jean had slipped back into her bunk she was surprised to hear her\nsister discussing, almost wildly she thought, the possibility of a\nbird's flying against such a gale; and after everyone else had settled\ndown again for the night she could hear Ellen pacing the floor of the\nliving-room.  Poor Ellen, thought the girl, she was all unstrung over\nShane's accident and frightened at the thought of blood poisoning.\nBut Shane was feeling much better next morning, though he kept to his\nbed all day and for several days after.  He was unusually silent,\nrealizing, perhaps for the first time, the gravity of the situation,\nfor the storm did not blow itself out in three or six days, as storms\nhad always done before.  It lasted twelve days and increased in\nviolence until near the end.\nDuring this great gale Jean sought her bunk early each evening and lay\nthere between sleep and wakefulness listening to the wind and sea.  She\nwas thankful that this was not a snow storm, since snowfall on Kon\nKlayu did not come until later, owing to the proximity of the Japan\nCurrent, but she found herself concerned for Harlan alone in his Hut on\nthe other side of the Island.  When it became apparent that Shane's cut\nwas healing as it should, the girl found her thoughts lingering on\nGregg.  She missed him more than she cared to admit, even to herself.\nBefore Shane's accident with the shotgun it had fallen to Gregg's lot\nto hunt the ducks and geese which were by now an important part of\ntheir food.  There was little ammunition and every shot must be made to\ntell.  With the make-shift shotgun it was impossible to hit anything on\nthe wing, and though it was evident that Harlan's sporting instincts\nrevolted against slipping up and pot-shooting birds on the water, the\nscarcity of shells compelled him to do it.  Kayak Bill flatly refused\nto handle anything but his .45, confessing to a casual scorn for what\nhe termed a \"shootin' iron that spewed its durned in'ards all over the\nrange.\"  In the growing anxiety over the non-arrival of the _Hoonah_,\nEllen had relaxed somewhat, her vigilant attitude toward Harlan, and so\nJean had come to join the young man on his hunting expeditions.\nRecalling them now she glowed at the memory of those past October\nmornings, when, leaving the rest of the family sleeping she had slipped\nout of the cabin and met the waiting hunter.  She had grown to love the\nhunt--the early sun sparkling on the yellow of frost-coated grass, the\ngreen of the ocean, the tonic of the sea air, and the swift,\nnever-to-be-forgotten creak-creak-creak of flying wings close overhead.\nThere was a thrill in the cautious creeping toward the lake wreathed in\nthe gossamer mists of the autumn morning, and the wriggling through the\nstiffened yellow grass, and a pang of delighted wonder at coming so\nclose to the wild, winged things, squattering and making soft\nduck-chatterings in the shadow of the reeds.\nBut duck-hunting days were over now, she reminded herself regretfully.\nThe shotgun was useless.\nShane's wound continued to heal without complications, but still after\neveryone else had long been in bed, Jean could hear Ellen pacing the\nfloor nearly every night.  This increased the uneasiness that had been\ngrowing upon the girl.  She wished Ellen would confide more in her.\nShe was finding it very hard for her to understand her sister these\ndays.  Ellen had not been herself for weeks.  The girl recalled her\ncurious and changeable attitude toward the pigeon the White Chief had\ngiven Loll.  From at first ignoring it, Ellen had suddenly begun to\nmanifest a lively interest in its welfare.  The best of the rolled oats\nwent to feed it.  Owing to the occasional frosts Ellen had moved the\ncage into the shed and she herself had solicitously covered it nightly\nwith an old blanket.  Sometimes she had stood for ten minutes at a time\nlooking in at the smoke-grey bird.\nOne incident stood out clearly in Jean's mind.  She had come upon Ellen\nmusing thus beside the cage.  Her sister had just washed her hair and\nit hung about her shoulders in lovely, golden-brown profusion.  There\nwas a look on her face--Jean, thinking of it, shook her head to banish\nthe memory of that look.  Presently Ellen had reached up and with a\ntrembling hand gathered together the short tresses that marked the\nplace where she had--foolishly, Jean thought--cut off the lock of hair\nin Katleean.  Ellen's fingers slipped over the severed ends, then\nflattened themselves forcibly over the latch on the pigeon's cage.\n\"No!  No!\"  Passionately the words had escaped her as she turned her\nback on the cage.  Meeting Jean's questioning eyes she had flushed and\ngone on into the house without speaking.\nAlways, at night, as Jean lay thinking, this incident drifted with\ncurious insistency through her mind.\nAs the storm continued through dreary days, blowing always from the\nsouthwest, the strange, reverberating roll from the south cliffs came\nmore loudly than ever before.  Listening to it sometimes, Jean would\nshiver at the hint of the supernatural in its cadence.\nThe continual thundering of the surf on the beach and the trembling of\nthe cabin in the rainy blasts of the gale finally began to tell on the\nnerves of those confined in such small quarters.  Gradually the talk at\nthe table grew less.  Even Kayak Bill ceased his monologues.  He and\nShane smoked more than ever and buried themselves in the reading of the\nold magazines and papers.  Ellen seemed more affected than any of them.\nHer face had become drawn and haggard.  She was so inattentive to\nLoll's questions when the daily lessons were in progress that the\nlittle boy grew impatient and asked Jean to help him instead.  Then,\ntoo, Ellen's strange solicitude for the pigeon increased until it was\nwith difficulty that Shane could prevent her bringing the bird into the\ncabin during the gale.\nOne night Jean woke from a troubled doze.  Everywhere was a strange,\narresting stillness.  She realized in a moment that the wind had gone\ndown.  The roar of the breakers which had been so loud and constant,\nnow sounded muffled.  Her first feeling was one of intense happiness\nand relief.  The storm was over at last--the longest storm she had ever\nknown.  Surely, now, she thought, the _Hoonah_ would come.\nThough she knew it must be after midnight there was a murmur of voices\nin the living-room.  A chair scraped along the floor.  Then came Kayak\nBill's tones, distinctly and with a gravity that sent a chill through\nher.  He was evidently concluding some argument.\n\"But I'm a-tellin' you, Boreland, that there's nary a Injine or a white\non the Alasky coast that'll venture nigh the Island o' Kon Klayu after\nNovember first----\"\n\"Great God, Kayak!\"  Boreland's protest cut him short.  \"Kilbuck\n_knows_ we haven't enough grub for the winter!  He wouldn't leave us\nhere to starve, especially two women and a child, after he has put us\nhere himself!  He's _promised_ to bring us provisions!  Given us his\nword!  To go back on it would be a violation of the law of the cache!\nWhy, the man has my schooner, and he hasn't paid for her yet!  No, no,\nKayak.  Kilbuck will come. . . .  By God, he's _got_ to come!\"\nThere was slow finality in Kayak Bill's answer.\n\"Boreland, he's waited too long.  He _can't_ come.  It's the thirteenth\no' November.  No one can come to Kon Klayu now till the breakup o' the\nwinter. . . .  The White Chief's staked the cards on us, son.  We're up\nagainst it.\"\nPART III\nCHAPTER XXV\nON RATIONS\nAfter the great November storm was over, Ellen realized that her\nproblem--for the present--had been taken out of her hands.  Even if the\npigeon were sent now, the White Chief would not risk bringing a\nschooner to the Island of Kon Klayu; there was no boat built that could\nmake a landing on its reef-guarded shores during the winter season.  It\nwas too late.  They were marooned until spring at least.  She would\nkeep the bird until then.  Further than that she refused to think.\nAs she accepted the inevitable she felt a sense of peace settle upon\nher, and with it came new strength.  As Kayak had said they were up\nagainst it, and knowing now what she had to fight, she was ready.\nHer mind turned at once to the pitifully meager supply of provisions.\nWith all the shrewdness of a general preparing to withstand an\nindeterminate siege, she planned her rations so that they might last\nthe longest period of time.  If the party could exist until spring, a\ncannery boat, a whaler, a ship of adventure, might call in and get\nthem, even though the White Chief did not come.  Ellen made a mental\nvow that they would live until spring.\nOn the fourteenth of November she made the entry in her log:\n  We have the following provisions on hand:\n  Flour--damaged--enough for eight months\n  Bacon, 1 slab\n  Dried onions, 1 pound\n  Beans, enough for five months if we have them once a week\n  Rice--damaged--for five months, once a week\n  Lemon Extract, 1 bottle\n  Salt and Pepper\n  Worcestershire sauce, 1 bottle\n  Dried bear meat\n  Bear fat, rancid\n  Rolled oats--mouldy--four months\n  Tea and Coffee\n  Three boxes candles\n  Two jars canned plums from mother's\nThat afternoon, on a pretense of his looking for pay-sand, she sent\nLoll down on the beach, and, calling the others together, summed up the\nproblem that confronted them.  She read her list of provisions and set\nforth her plan of rations.  In conclusion she urged that each one take\na turn hunting for sea-food on the rocks and stranded fish on the\nbeach.  If they could supplement their ration thus, they might, by\nconfining themselves strictly to it, exist until some boat came in the\nspring.  Harlan, she decided, must take his meals at the cabin.\n\"Jean and I will begin gathering shellfish tomorrow, while you men\nstart to lay in a supply of firewood for the winter months,\" she\nfinished.  Even Shane agreed that existence, now, instead of gold, was\ntheir main concern on the Island of Kon Klayu, although his was the\nlogic which still insisted that their desertion by Kilbuck could not be\ntrue simply because it seemed so intolerable.\nStrange to say, after this frank facing of their difficulties every one\nof the party felt more cheerful.  There came a letting down of the\ntension, a relaxation of the nerves, which had made their storm-bound\ndays so trying.\nThe following morning found Ellen and her sister in hip rubber boots\nbelonging to their men, headed for Sunset Point.  They were equipped\nwith pails and case knives.\nThe sun shone bright although there was little warmth in it.  The air\nwas sharp and exhilarating and wonderfully pure after the great wind.\nThe thunder of surf on a hundred reefs spoke of the storm of yesterday.\nThey soon found themselves down among the great boulders amid tangles\nof brown seaweed, where the shallow pools left by the outgoing tide\nwere alive with strange and interesting sea life.  Here, more than in\nany other place on Kon Klayu they were conscious of the air, the sound,\nthe whole enchanting spell of the sea.  The bottoms of tiny sea-pools\nwere dotted with red and yellow starfish.  Entrancing rose and purple\nsea-anemones blossomed like thistles on the water-covered stones but at\na touch, a sound, folded their delicate beauties into tight buttons\nhardly to be distinguished from the base to which they clung.  Comical,\ntiny iridescent fish, with eyes of bulging astonishment, and thorns on\ntheir backs, darted about the women's feet and went into hiding under\nfloating russet seaweed.  The big boots lumbering into the shallow\nwater caused sea-eggs of green and lavender to move solemnly on the\nbottom with raylike prickles erect.\n\"We'll try the sea-eggs later on,\" Ellen said, as she watched them.\n\"Senott told me at Katleean that all natives eat them.\"\nThe boulders were encrusted with great, grey, open-mouthed barnacles.\nPeriwinkles, like tiny purple snails, clustered on the weeds.  These\nwere so numerous that the sisters could not step without crushing them.\nThe crunching sound at first filled Ellen with repugnance for her task,\nbut necessity forced her on and before she had filled her pail with\nthem she had become accustomed to it.\nAs they moved farther out to where the waves of the ebb tide were\ncreaming against the rocks, the dark seamed sides were painted a\ndelicate sea-pink by a lichen-like growth.  Above their heads these\nboulders rose and all about them was the soft, seeping sound that sea\nthings make when the tide is low.\nKayak Bill had often described what he called a \"gumboot,\" remarking\nthat the name was bestowed locally because of the toughness of this\naquatic animal when cooked.  From the old man's description Ellen had\nthought they might be limpets.  Since there were no clams on the beach\nof Kon Klayu she had concluded to try them.\nNow, suddenly, she came upon them, their cone-shaped shells adhering to\nthe rocks.  When she and Jean tried to pick the small creatures from\ntheir abiding places, the least touch or sound caused them to tighten\nto the boulders.  It was impossible then to dislodge them without\nsmashing the shell.\n\"We'll have to sneak up on them, El,\" whispered Jean, suiting her\nactions to her words, and with a sudden, swift movement sweeping half a\ndozen from their support.  It was then that the sisters began to\nexperience the thrill of anticipation, the fascination of uncertainty,\nthat comes to those forced to hunt their food in wild places.\nThe tide came in flooding the pools in which they were standing and\nwarning them that it was time to leave.  With full pails they hastened\nto the cabin eager to try their new food.\nPeriwinkles, boiled, had not an unpleasant taste, but because of their\nlikeness to worms, neither of the women could eat them.  It fell to\nlittle Loll to extract them from their small shells by means of a pin.\nThis was a slow process and after the novelty wore off, the youngster\ngave utterance to loud lamentations over Kayak Bill's fondness for\nperiwinkles.\nThe \"gumboots\" were also boiled, and found to be as rubbery as the name\nimplied.  Chopping them fine Ellen made a hash of bread crumbs and\nfried the mixture in bear fat.  Afterward she sometimes added a small\nbit of chopped bacon, considered a rare treat since the bacon was\nhoarded for flavoring beans which they were permitted but once a week.\nIn putting her family on rations Ellen noticed that each one's appetite\nincreased tremendously.  Only by exercising the most rigid self-control\ncould she keep herself to the portions she had allotted.  The sight of\nLollie scraping his plate for the last morsel of food and then looking\nup at her expectantly, was the hardest thing she had to bear.  She soon\nbegan, surreptitiously, to put aside a portion of her daily share for\nhim.\nFor a time food was the all-absorbing topic of conversation.  The men\nfound a certain grim amusement in sitting about the table talking of\nthe kind of \"grub\" they would order if they were in the States.  They\ncould go into such detail as to taste and smell of certain appetizing\ndishes eaten in the past that often Jean laughingly stopped them.\n\"By Jove!\" Harlan would say.  \"I know a little place in San Francisco\nwhere you can get a beefsteak Bordelaise that would _actually_ . . .\"\n\"Um-m, yes,\" Shane would follow, \"and don't you remember that little\nItalian dump on Columbus where they serve spaghetti with a gooey stuff\nfilled with chicken livers and mushrooms--Oh . . . man!\"\n\"One time up on the Kuskokwim I snared me a cut-throat,\" Kayak Bill\nwould drawl, and then, with an angler's delight, proceed to describe\nevery wiggle of that super-fish until he landed it, and every phase of\ncamp-fire cooking, until, crisp and bacon-garnished, he ate it from the\nfrying-pan.\nJean's longing for fruit, especially bananas, was so intense that she\nused to wake up at night thinking about them.  She dreamed of bananas\nsmothered in cream.  When she closed her eyes sometimes during the day,\nbunches of the yellow fruit dangled enticingly in her mental vision.\nShe tried to re-read _Pickwick Papers_.  The hungry Fat Boy at first\nappealed to her, but Dickens' masterly descriptions of the nourishing\nfood of old England filled her with such a hunger that she put the book\naside.\nDecember proved to be a month of snow and blizzards, but despite the\nfaithful patrolling of the beach nothing in the way of pay-sand came to\nlight.  Whenever the weather permitted everyone sought shellfish among\nthe rocks, as it had become necessary to gather a quantity sufficient\nto last during storms.  The prickly sea-eggs were now added to the\nfare.  Often however, when the wet snow was hurled unceasingly against\nthe windows for days, the supply of sea-food gave out.  Then, for\nhours, there was hunger in the little cabin on Kon Klayu.\nJean noticed that her nephew, in some manner, had come to know that it\ndistressed his mother to speak of being hungry after he had eaten what\nshe had to give him.  It was seldom now that he mentioned it.  His\nlittle mind appeared to be taken up with speculations as to Christmas.\nJean had often listened to Kayak Bill prefacing his tales with: \"I'm\na-tellin' o' you, you never can tell a speck about a man till you\n'cabin' with him a-durin' o' one winter.\"  She was beginning to\nunderstand what the old man meant by it now.  She was growing to\nappreciate Shane's irrepressible Irish cheerfulness that always rose\nabove hunger, accident and the nerve-trying confinement of the cabin in\nstormy weather.  Because of him the storm-bound hours, despite the food\nsituation, were for the most part, times of story telling and exchange\nof reminiscences.  For Shane, with a strange faith, still clung to the\nthought that the White Chief might bring the _Hoonah_ to the Island\nbefore the end of the year.\nAs Christmas drew nearer, however, with one storm succeeding another, a\nchange came over him.  He began to sit beside the table in silence, his\nhead in his hands, his brown eyes looking off into space.\nOne night when the house trembled in the grip of a blizzard and the\nunexplained reverberating sound from the south cliffs came louder than\nusual, he sat thus while Kayak Bill played a game of solitaire on the\nopposite side of the table.  Lollie had established himself in his\nmother's bed.  While he turned the pages of a fairy tale book, he\npointed out the pictures to Jean.  That day there had been no shellfish\nto supplement the scanty allowance of food and the little fellow\nlingered hungrily on the colored pictures depicting bountiful tables of\nfeasting kings; jolly fat cooks basting roasting ducks in the kitchens\nof queens; little Jack Horner pulled a ripe plum from a pie.  Finally\nhe turned a page which disclosed the Queen of Hearts holding out a pan\nof delicious, browny-crusted tarts.  The crimson jelly at the centers\nseemed almost to quiver.\n\"Oh, mother, mother, I'm _so hungry_!\" he burst out.\nEllen laid aside her sewing and going to the cupboard brought out a\ntiny dish of rice and gave it to him.  Jean saw Boreland's eyes follow\nthe movements of his wife.  She wondered if he, like herself, suspected\nthat the dish contained over half Ellen's portion for that day.  There\nwas a tenseness about his jaw, a smouldering light in his eye that sent\na queer chill over the girl.  A few minutes later he rose and climbed\nup into the loft.  When he descended he held a revolver in his hand.\nThe weapon was one he had carried since boyhood.  Its history belonged\nto an oldtime Indian scout, a friend of Boreland's father.  On its\nhandle were three notches.  The last time the girl had heard the story\nof those three notches was at Katleean when Shane, pointing them out to\nthe White Chief, had told him that each one stood for a man who\ndeserved and met death at the hand that held the gun.\nShe grew inattentive to the questions of Loll as she watched her\nbrother-in-law at the table oiling and polishing the old revolver.  He\nspent much time at his task and when it was finished sat thoughtfully,\nhis thin fingers slowly passing over the notches as if he were counting\nthem for the first time.  After some minutes he leaned across to Kayak\nBill.\n\"Kayak,\" he said so softly that the girl could scarcely hear, \"_if_ I\nget back to Katleean in the spring--_there will be four--_\"  He tapped\nthe notched handle of the revolver significantly.\nA sudden chill of foreboding, doubly terrible because at first so vague\nand incomprehensible, swept her.  She saw Kayak's eyes looking into\nBoreland's.  They were tense, half-closed and glittered coldly, not at\nShane, but at some vision induced by Shane's words.  Then the old man\nnodded twice, slowly, approvingly, decisively. . . .\nAs the days of December went by everyone on the Island, with the\nexception of Loll, asserted often that of course there could be no\nChristmas.  Despite this, however, as the date drew near the holiday\nspirit hovered persistently over the camp.  Mysterious things were\ngoing on.  Kayak Bill withdrew himself behind his curtain very early\neach day, and tantalizing sounds of whittling came from his corner;\nwhile Boreland and Harlan shut themselves up for hours in the shed.\nThe day before Christmas came white and still with great soft\nsnowflakes falling until noon.\n\"Santa Claus weather!  Santa Claus weather!\" sang Lollie dancing up and\ndown before the window.  \"He'll surely come now--if there is one,\" he\nadded for Jean's benefit.  The girl had tried to explain the spirit of\nChristmas to the youngster, but he still clung to his early conception\nof the good old saint.\nThere was a party that night on Kon Klayu.  Jean had never admired her\nsister more than when she saw Ellen rise above the haunting fear of\nstarvation and with the few pitiful things at her command create the\ncheer of Christmas Eve.  And there was no lack of presents--home-made\ngifts that had cost their donors much thought and hours of\nlabor--gifts, some of them smile-provoking, but bringing with them a\nsense of warmer friendliness, a touch of tenderness which enhances the\nspirit of fellowship that comes to those who share the hazards and\nadventures of the North.\nLoll, with one lump of hoarded sugar, two full-rigged schooners, an\nIndian war canoe and a new blouse sewed by Ellen's fingers, was\nsupremely happy.  For the men were mittens made of a blanket, scarves\nknitted from the unraveled yarn of two old sweaters, and--even on Kon\nKlayu the male members could not escape the inevitable Christmas\nneck-tie, for Ellen had produced from the bottom of her trunk three\nbrand new ones purchased for Shane before she sailed from the States.\nKayak Bill looked his over a few minutes and then disappeared behind\nhis tarpaulin-screen in the next room.  When he emerged it was with one\nhand holding aside his bushy beard.  The new neck-tie, impaled with a\nlarge nugget pin, hung low on his blue flannel shirt.\n\"I ain't wore one o' these dude halters for ten yars, Lady,\" he\ndrawled, hitching his shoulders with an air of being pleased with\nhimself, \"but I ain't forgot how they goes.\"\nThere were two beautiful caps for Ellen and Jean made of the iridescent\nnecks of mallard drakes, carefully prepared and sewed by Kayak; a\ndust-pan made of a kerosene can; a calendar ruled off on the letter\npaper of the defunct life insurance company, and to their genuine\ndelight, two paper knives carved from the tusks taken from the sea\nmonster's head which Lollie had discovered.  Adorned with the\nemblematic figures of the Thunderbird and the Wolf they were, in their\nway, works of art, and Ellen, reading the penciled greeting on the\npaper attached to her gift, could not keep the look of surprise from\nher face as she thanked Harlan for it.  It occurred to her that this\nyoung man was continually and agreeably surprising her lately.\nAfter the distribution of the gifts, and the old-time stories told in\nthe candlelight, Jean, by the magic of her violin coaxed them all into\nsinging the Yuletide songs fraught with memories of the homeland;--all\nthat is with the exception of Kayak Bill.  The old man, his high\nforehead shining from his recent ablutions, his bushy beard hiding his\nnew tie, sat silent, even wistful, stroking the home-made gifts that\nlay upon his knees.  Jean as she played, wondered what long-ago\nmemories were misting his hazel eyes.\nWhen the singing came to an end, little Loll, without an invitation,\nrose and announced:\n\"_Now_, I'm going to speak my piece.\"\nHe walked to the middle of the room and made a low, circular bow.  In\nthe effort to recall that \"piece\" he had spoken the year previous in\nSunday-school, his brow puckered and his grey eyes took on a look of\nintense thought.  His emphasis fell in strange places:\n  \"'Twas _the_ night before Christmas\n  An' all _through_ the house\n  Not-ta creature . . . was . . .  Was _stirring_\n  _Not_-teven a mouse . . . not-_teven_ a mouse . . .\n  Not-teven a _mouse_!\"\nAll efforts to remember further having proved vain, Lollie, far from\nbeing embarrassed, bowed low again with the poise of one who has\nrecited brilliantly, and took his seat amid the applause. . . .\nHarlan rose at last to say goodnight.  From Loll's bunk, where she was\nhelping the sleepy boy to bed, Ellen called after him her Christmas\nwishes.  Jean slipped into her coat and followed the young man out to\nthe porch.\nThe night had turned wondrously clear, but it did not seem cold to the\ntwo who stood silently looking out on its beauty.\n\"Never was there such a night for Christmas carols, Gregg,\" said the\ngirl after some minutes had gone by.  \"Wait.\"\nShe darted into the cabin and returned almost immediately with her\nviolin tucked beneath her coat.\n\"I may never have a chance like this again. . . .  I'm going up as far\nas the Lookout with you.  Come.\"\nThey climbed up through the white, star-lit silence to the top of the\nhill.  From the height they looked down through the weird half-light\nreflected from the snow.  The formless waters kissed the ermine-wrapped\nshores of the Island.  The sweet, hoarse voice of the sea had in it the\ncadence of happy child calls.  There was an effect of illimitable\nspace, of wonderful freedom.  Up from the north into the night-blue\nbowl of the sky mystic lights unfurled themselves in pulsing, wreathing\nchiffon-like streamers of changing rose and violet, green and amber,\nred and gold--unfurled . . . trembled . . . rippled into opal splendor,\nand then swiftly and softly swept across the heavens and entangled\nthemselves in the calm, friendly stars that looked down on Kon Klayu.\nJean caught her breath.\n\"The Christmas lights of God,\" she whispered.  \"I have never been so\nnear to Him before.\"  She lifted her violin to her shoulder and began\nthe opening bars of _Holy Night_.  Gregg's voice joined the instrument,\nreverent, worshipful.\nAs she played there beside him the girl knew that they were sharing\nsomething never to be forgotten by either--the magic of a moment of\nperfect accord, a moment of beauty that transcended earthly things and\nleft them but two souls worshipping together beneath the softened glory\nof the Northern Lights.\nCHAPTER XXVI\nWINTER DAYS\nIt had taken Gregg Harlan some time to realize fully that mere\nexistence on Kon Klayu was an all-absorbing problem! but when he did so\nthe primitiveness of it stimulated, intoxicated him, not as liquor had\nonce done, but with a freshness that cleared his brain and sent his\nblood racing through his veins.  Every cell in his body tingled with\nlife.  He felt this exhilaration in his swinging stride, his up-lifting\nchin.  By Christmas he was no more tormented by a craving for liquor.\nOn the contrary he was nauseated at the memory of his stupid, sodden\ndays at Katleean.  Alaska, the Great Country, which either makes or\nbreaks, had challenged him to prove himself a man--and he had accepted\nthe challenge.  Kon Klayu, Island of mystery and beauty had laid its\ncharm upon him, for despite the hardships it was a place where romance\nand adventure were the realities of life.\nFor the first time in his twenty-five years he felt the spur of\nresponsibility.  He was filled with a desire to fight, to conquer, to\ndo something to try his new strength and to earn favor in the eyes of\nJean--and Ellen.  He grinned boyishly to himself, sometimes, when this\nmighty urge to noble deeds resolved itself into the accomplishing of\nprosaic tasks such as getting in firewood and hunting shellfish.\nIn the matter of clothes, Boreland and Kayak were the only ones who\nwere in any way prepared for the cold weather.  Ellen had cut up a\nscarlet blanket to make Harlan and Loll winter coats.  Jean had\nfashioned for herself an attractive mackinaw from a small white\nblanket, and the young man was not blind to the picture she made,\nred-cheeked, laughing, trotting along beside him on the beach as they\nlooked for sea food.\nOne windy day Kayak Bill came in from the beach without his cherished\nsombrero.\n\"The gol durned breeze snatched it often my haid, and lit out with it\nfor foreign parts,\" he drawled sadly as he smoothed down his wildly\nblown locks.  Despite Ellen's anxious protests he went bareheaded after\nthat, although he wound his scarf about his ears on extra cold days.\nHis hair continued to grow unchecked also, for after watching Ellen\nearnestly manipulating an inverted bowl and a pair of scissors while\nshe trimmed her protesting husband's hair, Kayak spoke with slow\nconviction:\n\"I hearn tell o' lady barbers down in the States, but I ain't no nature\nfor 'em a-fussin' round my noggin.  My kin folks drug me to the\nMethydist meetin' house once a-fore I stampeded from Texas, and the\nsarmon teched on a long-haired pugilist, Samson, what was trimmed by a\nlady barber by the name o' Dahlia.\" . . .\nFor some time Kayak and Boreland had been trying, as they put it, to\n\"taper off\" on their tobacco.  Harlan, when he found that the _Hoonah_\nwas not coming, had given up smoking so that the older men might longer\nenjoy what tobacco was left.  After days of silent, mental wrestling\nwith his desire, he reached the stage where he had successfully downed\nthe craving, and he watched with grim amusement, and no little\nsympathy, his partners' vain efforts to limit themselves to one pipe\nafter each meal.\nThere finally came a day when Kayak and Shane sat at the supper table\nlighting their farewell pipes.\n\"Goo' bye, lovely Lady Nicotine!\"  Airily Boreland waved a hand through\nthe smoke.  \"I bid thee farewell without fear and without regret! . . .\nAs a matter of fact, Bill, I've intended to quit right along, and this\nmakes it easy.  Filthy habit, anyway, and I don't want to set a bad\nexample for Loll.\"\nIt was from Jean that Harlan learned the details of the following\ndismal day.  It was so stormy that the men could not go out to work.\nAfter breakfast Shane and Kayak had risen from the table and, pipes in\nhand, instinctively sought the tobacco-box in the corner.  Their\nfingers met on the bare tin bottom.  With blank looks they faced each\nother.\n\"Hell, Kayak, I'd forgotten!\"  Boreland grinned sheepishly.  \"Now\nbegins the battle of Nicotine!  Buck up, pard!\"  He forced a\ncheerfulness into his tones as he slapped Kayak's shoulder.\nKayak Bill looked down at the empty pipe cupped lovingly in his hand.\nWith a sound between a grunt and a groan he put it back into his pocket\nand dawdled dispiritedly off into the other room to his bunk behind the\ntarpaulin.\nShane thrust both hands deep into the pockets of his overalls and\nshifted his weight alternately from heel to toe. . . .  Crossing over\nto the stove where his wife stood he bent upon her a wistful,\nlittle-lost-dog expression, so ridiculous in a man of his size that\nEllen burst into laughter.\n\"Poor--little--thing!\" she sympathized, patting his cheek.  \"It's lost\nits pacifier, it has!\"\nWith a sickly grin Shane turned to the window and dully watched the\nslanting sleet blown by the gale. . . .  Kayak's puffing snore came\npresently from the other room.  Boreland wheeled about, glaring.\n\"By thunder! to think that old cuss can _sleep_ at a time like\nthis! . . .  The man must have a heart of stone!  For two cents I'd go\nin there and . . .\"\nHe paced the floor, his hands fidgeting.\n\"Are you _sure_, El, you didn't save out a box of tobacco on us, just\nto give us a bit of a surprise now,\" he asked hopefully for the third\ntime that morning.\nIn the days that followed Harlan could not make up his mind who\nsuffered most during the \"battle of Nicotine\"--Shane or Kayak Bill, or\nEllen.  He grew to feel a bit sorry for Ellen.  He found himself\ngradually assuming the duties neglected by the other two men during\ntheir period of misery.  Boreland lost much of his good-natured\ncheerfulness.  He was inclined to view the food situation with\nincreased alarm.  He often spoke sharply to Lollie, and sometimes to\nhis wife.  But invariably after an irritable outburst he sought to make\nup to the boy with some home-made toy, or a new story of adventure.\nWith Ellen his method of apology was different.  He would put his arm\nacross her shoulders and look down at her whimsically.\n\"I swan to goodness, little fellow, if I wasn't an angel I couldn't\nlive with you at all, at all, you're that peevish since I've stopped\nsmoking.\"  Then with his most wistful Irish look he would add, \"Be\npatient with me El.  I'm having a hell of a time.\"\nAs Harlan watched the struggles of his partners he grew to have a\nbetter opinion of his own power of self-control.  Jean was responsible\nfor this in a way.  Sometimes on stormy days when it was impossible to\ngo outside, the patience of the whole family would be sorely tried by\nthe actions of the older men.  They would research every nook and\ncorner of the cabin, go into the pockets of every garment and even rip\nlinings in their efforts to find some over-looked bit of tobacco.\nAfter just so much of this, Jean would turn on them scornfully and\ncompare their childish actions with those of Harlan when he was\nundergoing the same deprivation.  Undoubtedly this holding him up as a\ngood example had the opposite effect to that hoped for by Jean, but it\nnevertheless caused a warm glow to encircle his heart.\nOne day Boreland made a great discovery: By pulverizing the old\nnicotine-laden pipes, of which there were over half a dozen, he found\nthat the resultant mixture could be smoked.  He and his partner in\ndisgrace did no work that day.  In disgust Ellen banished them to the\nwoodshed to do their smoking.  From this place of refuge Kayak Bill's\ndrawling tones of immense satisfaction floated out at intervals:\n\"Honest to grandma, Shane, I'm a-feelin' like a new man.\"\nBy the time the corncobs had all been pulverized and consumed, and but\none cannabalistic pipe, itself pared down until it held but a\nthimbleful, was left between them, all the other members of the party\nhad arrayed themselves against the sufferers.  By persisting even\nthough sickness was often the penalty for smoking an extra strong\npulverized pipe, they had forfeited the sympathy of all hands.  Matters\ncame to a crisis one afternoon, when Boreland, taking a candle, crawled\nup into the loft to make one more search among the provisions.\nSuddenly there was heard a great commotion overhead--a beating and a\nfloundering about.\n\"Hey!  Get some water up here--quick!\" came Shane's alarmed shout.\n\"I've set the bloody place afire!\"\nHalf an hour later the fire was out, thanks to the efforts of the\nbucket brigade which rushed water from the spring, but in the roof was\na gapping hole, and much of the outfit stowed away in the loft was wet\nagain.\nBoreland came slowly down from above.  He was besmudged, apologetic and\nsheepish.  Ellen was waiting for him.  She looked him over from head to\nfoot, her blue eyes snapping, scorn and supreme disgust radiating from\nher.  Next she turned to Kayak Bill and took him in with the same look.\n\"Now, men, listen to me,\" she said sternly, as they both started to\nslip toward the door.  \"I've reached the limit of my endurance.\"  She\nemphasized her next remarks with a decisive finger.  \"The _very next\none_ of you who mentions tobacco inside this cabin will be banished to\nthe smoke-house to live by himself.  I mean every word I say!\"  With\nhang-dog looks the culprits turned away and disappeared through the\ndoor.  Ellen, with business-like brevity, climbed up into the loft to\ninvestigate.  Harlan followed.\nHe found a roll of tar paper with which to mend the hole in the roof\nand helped Ellen shift the dunnage bags which had been wetted by the\nwater.  They worked in silence for some time.\nSuddenly Ellen stopped in her operations.  She rested her palms on the\nfloor and looked up at Harlan.  In the candle-lit gloom of the loft he\ncould see that her eyes were twinkling.  A new friendliness was in the\ningenuous smile she gave him.\n\"Gregg,\" she said in a tone that finally admitted him to her\nfriendship, \"remember--there isn't a man living who cannot be benefited\nby having a good, sound scolding once in a while.\" . . .\nAnd so the days passed until the end of January.  They were stormy ones\nfor the most part, yet no ruby sand showed on the beach of Kon Klayu.\nOne clear, cold morning Harlan and Jean were gathering shellfish among\nthe boulders on Sunset Point.  The air was strangely still and under\nthe pale sunshine the sapphire waters were tinged with rose and\nlavender.  They had long been accustomed to those tricks played with\nsea and clouds by the magician Mirage, and today the crest of each\nbillow was magnified until, on the horizon the points seemed to leap up\ninto the sky.  Above a lucid space in the southwest a mass of silver\nand amethyst tinted clouds moved slowly and spread out like a platform.\nThey sat on a flat boulder to watch the changing beauty of the colors.\nTheir daily forays for shellfish had deepened their love of the\nsea--its ways of mystery that were ever bringing to their attention\nsome new loveliness of form and tint.  Now, before their incredulous\neyes there appeared rising from the cloud bank the illusion of\ngraciously rounded domes, spires, minarets, and the next instant they\nwere gazing on a city of enchantment softly reflected in a pearly\nsea--a silvery city of fantasy like an exquisite shadowy drawing of\nsome foreign land. . . .  They sat silent, entranced.  How long the\nvision lingered neither of them knew. . . .  Then a breeze fanned their\nfaces and in a twinkling the city of dreams vanished.\nThey raced back to the cabin with their news but found the others on\nthe porch.  They too had witnessed the phenomenon.  Kayak Bill alone\nshowed no surprise.\n\"That's what sourdoughs up here calls 'The Silent City,'\" he drawled.\n\"Alasky folks have been seein' it for yars.  One time I saw it above\nMuir glacier, and one time when I was a-crusin' in the Bering Sea.\nSailors calls it a mirrage.  If I don't miss my guess, there'll be hell\na-poppin' in the way of a storm purty soon.\"\nKayak was right.  Within twenty-tour hours the worst southwest gale\nexperienced racked the Island.  The strange reverberating roll from the\nsouth Cliffs beat with weird insistence on their ears for three long\ndays and nights.  When the weather cleared the immediate need for\nshellfish sent Jean and Harlan out among the rocks again.\nThey were coming home from Skeleton Rib with their pails full of\n\"gumboots,\" making a desultory search for pay-sand, which no one had\nseen for weeks.  They left the beach and turned toward the little lake\nvisible from the cabin porch.  The storm had shifted the cannon-ball\nshaped boulders which characterized that part of the shore, stripped\nthe tundra of every sign of vegetation, and exposed the brown turf\nbeneath.  Gregg in restoring his knife to his pocket, dropped it.  As\nhe stooped to pick it up a look of astonishment crossed his face.  He\nsank on his knees and eagerly scanned the brown surface beneath.\n\"Jean!\"  There was excitement in his voice as he beckoned her.  \"Look!\"\nThe girl rushed to his side.  She bent to look and caught her breath.\nThe dark surface of the turf was flecked with glittering colors of gold.\nCHAPTER XXVII\nSPRING\nOnce again gold cast its magic spell over the Island of Kon Klayu.  The\ndaily food hunting was alternated with preparations for mining the\ngold-bearing turf--the top of which had caught, like the nap of a\nblanket, the flakes of yellow metal washed up by the storms of years.\nThough the men knew they had not yet found the source of the Island\ngold, they were confident there was a small fortune in sight.\nIn his enthusiasm Boreland put behind him for a time the growing hatred\nfor the White Chief of Katleean that was slowly eating into his heart,\nand with Kayak Bill and Harlan went about the \"dead work\" that preceded\nthe actual mining.  There were puddling-boxes and sluices to be built\nat the edge of the little lake off Skeleton Rib, and the top of the\ngold-carrying turf was to be cut up into squares and piled like\ncordwood until they were ready to shred it and run it through the\nsluices.\nWhile the work went on everyone kept a sharp lookout for cannery ships\ngoing west, for along the Alaskan coast the first sign of spring is the\ncoming of the fishing fleet from the States.\n\"Of course February is a month too early,\" said Harlan one evening as\nthey sat about the supper table discussing the possibilities of rescue,\n\"but we ought to have some way of attracting attention.  We might put\nup a flag-pole on the Lookout, but--\" he shrugged his shoulders, \"we\nhave no flag.\"\n\"If you men get the pole up, I'll see that you have a flag,\" Ellen\npromised.\nNo one had been well supplied with clothes in the beginning of the\nIsland adventure, and gradually Ellen had used every available piece of\ncloth to eke out the worn and patched garments, which despite all her\nefforts, turned her family into tatterdemalions.  But she took what was\nleft to put together her flag: some flour sacks, an old blue shirt of\nShane's and a red blanket that could hardly be spared.  The men hunted\nfor days among the drift of the beach before finding a log the proper\nlength and shape for their purpose, but at the end of a week the pole\nwas in place.\nThe hoisting of the flag for the first time was made an event which\ndemanded the presence of every member of the party on the Lookout.\nSudden, poignant emotion stirred the six tattered figures that stood\nabout the pole as the crude banner unfurled its stars and stripes to\nthe strong breeze.  Home-made and heavy it was, but it fluttered above\nthem, the emblem that has ever stood for hope, for freedom, for\njustice, and there was that in the sight of the flag which caused the\nmen to stand with bared heads, while Ellen and Jean viewed it through a\nmist of tears.\n\"Oh, surely, _surely_ now, some ship will sight it and come in!\"\nproclaimed Jean, as she turned to scan the sea, her face alight with\nthe faith inspired by the faded colors.\nIt was the latter part of March before the smoke of the first cannery\nboat was seen moving slowly to the westward.  Though the vessel was so\nfar away the watchers knew their low Island could hardly be seen from\nits deck, the mere fact that ships were beginning to navigate the\nnorthern sea promised well, and the flag was kept flying from the\nLookout day and night, its stars turned down as a sign of distress.\nIt was decided that Jean and Harlan should attend to the evening signal\nfires.  There was little darkness in the nights, for already the long\nAlaska daylight had set in, but by placing half-dry seaweed on the\ndriftwood flame a great smoke resulted that, it was hoped, might be\nseen by passing vessels.\nIt was good to sit about the fire looking down on the sea while the\ndusk crept in, and now that Ellen had, to some extent, modified her\nopinions regarding Harlan, there was nothing to hinder the growing of a\ndelightful, outdoor companionship that made the hours pass with\nmiraculous rapidity for the two young fire tenders.  Past hardships and\nhunger were forgotten up there on the Lookout.  The evenings became\nhours of confidences when they discussed their plans, their dreams,\ntheir budding philosophies of life.  They came to know each other's\nmoods and each other's thoughts and that magic of shared adventures\nwhich can be more binding than love.\nOne night Gregg told her of his early ambition to be a mining engineer,\nhis year at a mid-western school of mines, where his studies were\nterminated, he admitted with entire frankness, by a request to leave.\nHe told her also of his return home to San Francisco, and the\nsubsequent years of aimless drifting which ended in the final break\nwith his father.\n\"I can see now,\" he concluded, \"that poor old dad had good reason for\ndisappointment.  As a last resort he sent me to Katleean hoping that\nI'd get some sense jolted into me--but--well, I didn't, Jean,\nuntil . . . until the _Hoonah_ put into the bay.  I've been wondering\nwhat he is thinking now. . . .  He hasn't had a word from me since\nAugust, although, of course, he hears from Katleean--\"  He checked\nhimself, pausing a moment as if he were on the point of telling her\nsomething else.  Then: \"Dad is--he's interested in the Alaska Fur\nTrading Company, you know.\"\nBut Jean's mind was already intent on the young man's future.\n\"Now you _are_ going to wake up and do something, though,\" she declared\nwith a decisive movement of her little head.  \"I don't care much for\nwhat you've told me of your past, Gregg,\" she admitted frankly, \"but--\"\nshe waved her hand with a gesture of dismissal--\"up here it isn't\nyesterday that counts, it's today and tomorrow.  This is a wonderful\nnew land to begin in----\"\n\"And you just watch me do it, Jean!\" he interrupted her\nenthusiastically.  As if he already felt the need of action he rose\nfrom the ground and thrusting his hands in his pockets, began walking\nup and down before her.  \"I've done a lot of thinking over there in my\nlittle Hut--a _lot_ of it, and I know this country has gotten a hold on\nme, some way.  It's mine from now on.  There's something about it that\nmakes me feel alive.  I want to get out and hustle like the\ndev--dickens.  Honestly, if it wasn't for you and Ellen and Loll, I\ncould be glad we have been put up against it here on Kon Klayu!  I've\nactually enjoyed the fighting for food and warmth and shelter! . . .\nWe'll all have a good stake when we leave here, Jean, but already I'm\nplanning to come back.  I have a few ideas about mining that I'd like\nto try out.\"\nThe girl looked up at him, her eyes glowing with interest.  Encouraged,\nhe took his place once more by the signal fire and began in detail his\nplans for the further prospecting and development of the Island.\nBut not all their hours on the Lookout were spent in the discussion of\nmining.  They seemed to have the whole world to themselves up there--an\nenchanted world, cool, redolent of hidden sprouting green things and\nthe smell of driftwood smoke; a world tinctured with a sheer beauty\nthat neither of them had ever known before.  They had reached the stage\nin their companionship where sometimes they sat silent for long\nminutes, only occasionally looking across the fire at each other with\nthe smile of understanding that is often better than speech.  Sometimes\nthey laughed together as only youth can laugh, over inconsequential\nthings, and sometimes he sang to her--songs of the sea, men's songs at\nfirst, but these gave place later to the songs of sentiment that may,\nwhen the singer choose, be made more intimate, more tenderly personal\nthan the most personal spoken word.\nJean, after she had gone down to her little bunk at night, often lay\nthere wondering how, under the circumstances, she could be so happy,\nespecially since the food situation was becoming more desperate each\nday.  But, with the exception of occasional lapses into acute anxiety,\nshe was strangely content and confident for the future.\nOne morning she was awakened by Loll's excited whisper.\n\"Jean!  Oh J-e-a-n!  Do you hear anything?\"  The youngster was standing\nbeside her bunk, the early light falling on his red head, his ear\nraised alertly after the manner of the little dog in a famous\nphonograph advertisement.  She roused herself drowsily and sat up to\nlisten.  Above the sound of the surf on the beach came the faint wild\ncall of gulls.\n\"Oh, Loll, winter's gone!\" she exclaimed just above a whisper.  \"The\nbirds have come back to nest!\"\nShe bounded out of bed and a moment later the two slipped quietly out\nto the porch.  The light fall of snow had already been gone for weeks.\nIt was a glorious morning of sunshine and sparkling sea.  Looking up\nshe saw against the cobalt sky the white wings of sea-gulls--the\nharbingers of spring.\nHer happiness in the sight was somewhat lessened as the sound of\ncoughing came from inside the cabin.  Everyone but Ellen appeared to be\nstanding well the enforced diet of bread and shellfish upon which they\nwere now living.  Sometimes Jean was worried over her sister's\ncondition.  She suspected that never from the first had Ellen eaten her\nfull share of the food, even when they had had beans and rice and\noatmeal.  Her sister could not eat the tough \"gumboots\" and her only\nnourishment was obtained from bread and black coffee.  Ellen still went\nabout her household tasks, but it took her longer to do them now and it\nwas evident to Jean's critical eye that her strength was waning.\nMeat--meat was what she needed, the girl thought.  The pigeon--once she\nsuggested to Ellen that it might be killed, but her sister opposed the\nidea so violently that Jean never mentioned it again.\nOne day Harlan brought down a sea-gull with a stone.  Jean hopefully\ncooked it, but the flesh was so tainted with fish that no one could eat\nit.  The sea-parrots had returned to the Island but these wary little\nbirds kept far out over the water.\nThere came a morning when Ellen did not get up for breakfast.  The men\nleft early for the lake.  They were devoting all their time to their\nmining, and secure in the thought that they had struck something rich,\nthey were eager for the clean-up; but to Jean, stepping quietly about\nher household tasks, gold did not seem valuable now.  It made no\ndifference how much they found--it would not buy them one ounce of\nnourishing food--and nourishing food was what Ellen must have, and soon.\nThe girl tip-toed to the bed and looked down at her sister's face,\nwhite and thin against the tumbled mass of golden-brown hair.  There\nwas something small and very girlish-looking about Ellen as she lay\nthere--and something suggestive of a great weariness.  Jean felt a\nsudden tenderness for her--a desire to clasp her sister in her strong\nyoung arms and shield her, from what she could not tell.  She stooped\nand softly kissed the small, work-stained hand that lay outside the\nblanket.\nAs she continued her work, the plan which had often before suggested\nitself to her, now returned.  Ellen's peculiar conduct in regard to the\npigeon precluded her mentioning it to her sister.  She took a sheet of\nthin paper and in painstaking, minute characters wrote a message.  She\nwould attach it to the pigeon and turn the bird loose.  Perhaps it\nmight fly back to Katleean, and then, surely, if the White Chief found\nher message he would make an effort to come at once.\nHalf an hour later she had the pigeon on the beach below the cabin.\nShe was urging it to fly, but the bird merely spread its wings and\nfluttered about.  Fearing that the long confinement had deprived it of\nthe power of flight, Jean was redoubling her efforts, when Loll came\nrunning along the sand.\n\"Gee Whiz, Jean!\" he yelled, \"What-cha doing with my pigeon?  Can't you\nsee he can't fly good yet?  Dad clipped his wings that time one of them\ngot caught in the hinge of his cage.\"  And Lollie, with coaxing noises\nand terms of endearment proceeded to gather his pet into his arms.\nObliged by Ellen's illness to assume the responsibilities of the larder\nJean was surprised and dismayed at the small amount of food that was\nleft them.  She tried to banish the fears that this knowledge brought\nher by talking cheerfully of the certainty of procuring seabird eggs.\nSpring had the effect of coming suddenly.  The yellow grass and bare\nbranches which had greeted them for so many months changed seemingly\novernight.  The adventurers awakened one morning to find that the\nalders had burst into pungent, sticky little green leaves and the\ntundra had taken on a tinge of emerald.  When the Indian celery had\ngrown a foot in height Jean and Loll brought an arm-load to the cabin.\nThe girl remembered that Senott at Katleean had told her \"him plenty\ngood eatin' when salmon run.\"  Everyone craved something green and\nthough the celery was hollow-stalked, very watery and of a strong musky\ntaste and odor, they ate it, because, as Loll put it, it _felt_ like\ngreen stuff going down, anyway.\nDucks and geese flew over the Island so low that the sibilant sound of\ntheir wings could be heard from the porch.  Shane often tried to kill\none with a stone, but without success.  He and Kayak Bill had long ago\nused all the ammunition for their revolvers endeavoring to shoot\nhair-seals off the south end.  Shane's revolver finally disappeared\nentirely.  One day, however, after he had stood long by Ellen's bed, he\nwent out to the shed.  Jean coming upon him there had found him\nthoughtfully twirling the weapon on his finger--his trigger finger as\nhe had often called it.  Although he announced that there were no more\ncartridges for it the girl later came upon five wrapped in a bandana\nhandkerchief.\nWhen at last the flowers began to bud, Jean and her nephew climbed the\ngulch trail to the top of the Island where Kobuk lay under the tundra\non the crest of the hill.  The lone tree, so like a woman with\nwind-blown hair, had lost one of its branches during the winter gales,\nbut it still stood, as if looking out across Kobuk's grave to the\nfar-away, illimitable skyline; ever looking, Jean thought, as she was,\nfor a ship that never came.\nShe and Lollie made Kobuk's resting place a bed of transplanted violets\nand iris and dog-tooth lilies.  When the work was finished, Lollie\nstood leaning on the club he had begun to carry, as his one desire in\nlife at this period was to emulate Robinson Crusoe.  He looked\nthoughtfully down at the grave for some time.\n\"Perhaps, after all, Jean, it's better that Kobuk died,\" he said at\nlast.  \"We'd have nothing to feed him now, poor old Kobuk, and he'd be\nhungry, like us.\"  He raised his thin little face to watch a sea-parrot\nflying overhead with a fish in its bill.\nJean leaned against the tree, one of her recurrent floods of\nhopelessness sweeping her.  Far down the tundra toward the north she\ncould see the flag-pole on the Lookout.  The tattered home-made flag\nhung dispiritedly in the still sunny air, and the smoke of the signal\nfire was a mere straight-rising wisp.  The calls of happy mating gulls\ncame to mock her--gulls replete with the bountiful food of the sea.\nToday she was hungry, so hungry that every atom of her body cried for\nfood, hot, nourishing food which she had not known for months.  And\nEllen, back there at the cabin, was growing weaker and weaker each day.\nThe girl's eyes dully followed the low-flying sea-parrots.  In a half\nconscious way she noticed that many of them came toward the crest of\nthe hill and disappeared.  Sea-parrots were not as fishy tasting as\ngulls, as she had heard Kayak Bill say.  If only they had some way of\nkilling these birds perhaps the broth and the flesh might bring back\nEllen's strength.\n\"Jean, isn't that the place the old bear came up the hill?\"  Lollie's\nvoice broke in on her thoughts.  He was pointing to the scrubby growth\non the brow of the hill where she had first seen the bear of Kon Klayu.\n\"Let's go over and see.\"\nAs they walked toward the ridge their feet made no sound on the soft\ntundra.  They peered down hill into the shady recesses under the\nstunted alder and salmon-berry bushes.  Jean's nostrils twitched as\nthere was wafted up to her the strong, acrid odor which lingers about\nthe places of nesting birds.  As her eyes became accustomed to the\ndimness, she ventured a remark which died abruptly as she caught her\nbreath.  Beneath the low canopy of branches the ground was bare of\nvegetation, and on the cool brown earth, packed hard by the patter of\nwebbed feet, a dozen or more sea-parrots were sitting not fifteen\nslanting feet below!\nAt the sight of them Loll dropped to his hands and knees and, club in\nhand, crept cautiously down under the low-growing bushes.  Inch by inch\nhe drew nearer to the birds. . . .  Then, with a swift movement he was\nin the midst of wildly flapping wings, clubbing fiercely at\ncrimson-beaked heads.\nJean, fearing that he was in danger, threw herself on the ground and\ntried to wriggle forward to him, but the low growth made the passage of\nher larger body impossible.  She drew herself back and called\nfrantically to the boy.  She could hear the commotion and see the\nparrots one by one flying clumsily out as they escaped from the spot\nwhere he fought.  With a shout of encouragement to him she made another\nattempt to crawl under the brush.  At that moment Loll's freckled face\nwas thrust through the undergrowth.  He turned to tug at something,\ngrunting and straining as if trying to free it from the tangle.\n\"Jean!  I've got 'em!  I've got 'em!\" he yelled.\nA second later he was standing before her, breathless, his blouse torn\nfrom his shoulders, his face scratched.  In his bleeding little hands\nhe held five dead sea-parrots.  \"Killed 'em with my club, Jean, just\nlike Robinson Crusoe, 'cause they can't fly away quick under there!\" he\nexplained.  \"They've all got little tunnels under there, too--nests I\nthink they are, but I couldn't reach the end of 'em when I put in my\narm!\"\nAn hour later Jean was attending to the cooking of the birds.  When\nskinned, only the breast was found to be edible.  The meat when cooked\nwas coarse and dark red, but it was a palatable sea-parrot and dumpling\nmulligan that the girl evolved.\nWhen the men returned from Skeleton Rib that night there was more\nrejoicing over the food than there was over the fact that at last\neverything was in readiness at the lake for the first clean-up.  Three\npuddling-boxes stood full of the soft brown muck that had once been\nturf.  The sluices were in place ready for the water that would be\nturned into them the following day, and the tools, wheelbarrow and the\ncart had been drawn aside, clearing the space for action.\n\"Tomorrow, boys, we'll be bringing home _hi-yu_ gold!\" Shane asserted\nconfidently at supper.  \"And before the end of the week we'll all have\nenough to go anywhere we wish.  Now that we are certain of plenty of\nbirds sure our hearts should be light as feathers--for a boat will\nsurely be along soon!\"\nOn the Lookout that night Jean said good-night early to Harlan.  As she\ncame down the hill to the cabin she stopped to look at the\nwide-spreading ocean.  The sun had gone down in a strange sea mist and\nbelow her the waters heaved dim and vast and ghost-like in the\ntwilight.  There was a hushed feeling in the air.  It may have been\nthat she was more tired than usual, for when she slipped into her\nlittle bunk she fell into a heavy sleep almost as soon as her head\ntouched the pillow.\nIt was Shane's incredulous shout that awakened her.\n\"Kayak!  Come here!\"\nShe could hear Kayak Bill moving quickly toward the door in the\nliving-room.\n\"Ellen, you come out, too!\"  It was evident that Shane was laboring\nunder an intense astonishment.\nThe girl clambered out of her bunk and flinging on a kimono, started\nfor the porch.  Before she reached the door Kayak Bill's unbelieving\nexclamation sounded:\n\"By--hell!  The lake--\" he paused in sheer leaden amazement.  \"The lake\nis _gone_!\"\nCHAPTER XXVIII\nTHE CLEFT\nOn the porch all eyes were turned toward the south where the silver of\nthe little lake off Skeleton Rib had always glimmered through its\nscreen of alders.  There was no friendly sparkle of water this morning,\nand gone were the trees that bordered the shore nearest the beach.\nInstead, a strange desolation, more noticeable because of the brilliant\nsunshine, hung over the spot, which now showed a vague-reddish brown in\nthe distance.  It had the sickening effect of an empty socket from\nwhich the eye has been torn.\nThe bewildered look on Kayak's face was slowly changing to one of\nenlightenment.\n\"Folks,\" he said quietly.  \"We're lucky to be alive this morning.\nThere's been a tidal wave!\"\nHis eye was taking in the length of the beach that lay between the\ncabin and the lake.  There was a weird look of alteration about it, as\nif a giant hand had tampered with it during the night.  Piles of\ndrift-logs were stacked up far inland, and the vegetation on the banks\nabove the beach was flattened and in many instances swept completely\naway.  Close at hand--not twenty feet from the cabin--lay windrows of\nseaweed, left there by the spent wash of the great wave.  Death, swift,\nsweeping, terrible, had been diverted only by the high bank that stood\nbelow the cabin.\nIt seemed incredible, monstrous, that they all should have slept\npeacefully while the mass of water was rolling in on them from the\ndeep.  Kayak Bill, who had once seen a tidal wave on Bering Sea,\npictured it advancing in the grey unnatural night from the far reaches\nof the ocean, growing larger and larger as it neared the shallows off\nKon Klayu, and then, tossing its dancing crest to the sky in gigantic\nabandon, curling down from aloft in green-white, crushing splendor and\nflinging itself far over the beachline in its endeavor to encompass\nthem all.\nWithout waiting for breakfast the men went down to the spot where the\nlittle lake had been.  Nothing but a dark ooze remained.  Every block\nof gold-carrying turf, every puddling-box, sluice and tool had been\ncarried out to sea.  The work of weeks had come to naught.  Their last\nhope of gold was gone.\nDuring the gloomy fortnight that followed it was the food supply,\nhowever, and not the calamity of the tidal wave that was subject of the\nmost discussion.  With the exception of flour there was little left of\nthe outfit that had been landed on Kon Klayu, and to the consternation\nand chagrin of the men, they discovered that Loll was the only one who\ncould slip up on the sea-parrots and kill them with a club.  Shane and\nHarlan and even Kayak Bill tried it repeatedly with no success.  They\nwere unable to creep down under the low-growing brush in a manner\nstealthy enough to reach the birds.  Even Loll found it impossible to\napproach them in the open, and they grew more wary day by day.  Six\npeople depended on the child for nourishing food, and Lollie, after\nthat first wild morning when he had discovered his ability to kill the\nbirds, found his tender heart revolting against his bloody task.\nEllen, slowly recovering her strength now that sea-parrot broth had\nbeen added to the daily fare, had become painfully intuitive in the\nmatter of all those phases of the situation which Shane and the others\nclumsily tried to keep from her.  Though apparently asleep, she knew\nthe instant that Shane crept from his bed in the very early mornings\nbefore the sun had dried the dew on the tundra.  She could hear him\ntip-toe into Lollie's bunk and with forced lightness call softly:\n\"Come, Loll, son.  Hop up now.  We must be after the birds this fine\nmorning!\"\n\"Oh, dad!  I don't want to kill any more--I can't do it, dad! . . .\nLet this morning go by . . . please!\" . . .\n\"Whist, lad!  Your mother'll hear you.  Come along now, son, we'll talk\nit over on the outside.\"\n\"Oh, please, _please_ . . .\"\nQuickly Ellen would put her fingers over her ears that she might not\nhear the beseeching little-boy voice, but she knew the moment Shane\nlifted the reluctant child from his warm bunk, and she knew, too, that\nShane's heart must be aching with the pity of it, as was her own.\nOne morning, thinking they had gone, she raised her head to note the\nhour.  There was the sound of a quick step on the porch outside.\n\"Oh, dad!\" came Lollie's pleading tones, and Ellen knew just how his\ngrey eyes, big now in his small thin face, were raised to his father's,\n\"dad, if you could see them down there under the leaves, strutting so\ncute-like and innocent in front of their little tunnel nests getting\nready for their babies!\"  Then with passionate intensity: \"Today . . .\ncouldn't you just let me off for to-day, dad?\"  Inspired, perhaps, by\nsome shade of feeling in Shane's eyes he went on with hurried,\npromising emphasis: \"An' _tomorrow_, maybe tomorrow, dad, I'll feel\nlike getting lots of 'em!  Honest, maybe I will!\"\nEllen, with a moan of mental anguish, buried her face in her pillow and\ncovered her ears to shut out the rest.  That her boy, friend and lover\nof all wild things, was obliged, against his will, to slaughter birds\nin order that they might live seemed more than she could bear.\nAnd as if to add to the hopelessness of the situation, daily now\nsteamers and sailing vessels passed far out on the North Pacific, but\nnone swerved in its course.  There was nothing to hinder the _Hoonah's_\ncoming--nothing but the word of the White Chief of Katleean.  Ellen\nchafed inwardly as the long, light days and nights dragged by.  Help\nmust come soon, and for some time she had been counting the hours until\nthe pigeon's wing-feathers should grow out again.  As soon as the bird\ncould fly she was going to take it to the Lookout and speed it on its\nway with her message of capitulation to Paul Kilbuck.\nThe long sunny days of May passed, turning Kon Klayu into a garden of\nwild flowers.  It was violet time with great bunches of purple blossoms\nnodding against the hillsides.  Above the beachline rice-grass waved\nluxuriantly.  Indian celery thrust its graceful, creamy parasols above\nbeach forget-me-nots, strawberry blooms, black lilies, blue geraniums\nand thick carpets of delicate wee flowers that have no names.  The\ngreen of the tundra on top of the Island was splashed with yellow\nbuttercups and pink and lavender daisies, and on every little brown\npool and lake floated golden lilies.  The warm salt wind from the sea\nstirred the fragrance of it all--the flowers, the moist tundra, the\nsun-warmed sand into a perfume that is the breath of Alaska; a clean,\ninvigorating perfume that once known can never be forgotten.  It is\ncharged with that indefinable charm, that hint of promise, which is so\nmuch a part of the great North country.\nTo Jean and Gregg, racing along the beaches on their various hunts for\nfood, it brought a joy of spring that, when they were in the open, made\nthem forget completely the growing seriousness of their situation.\nNearly every day now the air was softly, embracingly warm, and owing to\nthe scarcity of garments, no one was wearing more than was necessary.\nThe men had long been going barefooted, and Jean, as soon as the\nweather and the nature of her work permitted it, put her only remaining\npair of worn shoes in the loft against the day when she should leave\nKon Klayu.  She, too, went barefooted for the most part, delighting in\nthe feel of the cool sand against her feet, but she carried with her\nthe hair-seal moccasins given her by Add-'em-up Sam's widow at\nKatleean.  These she put on to walk over stones or along the tundra.\nAs the sea-parrots were daily growing more wary, and Lollie had now to\nexercise the greatest caution to get near enough to club them, the need\nof eggs became imperative.  One day Jean and Harlan were racing along\nthe beach headed for the south cliffs to make their accustomed search.\nA rope coiled about the young man's waist held to him a bucket which\ndangled and bobbed as he ran.  The afternoon was sunny and a fresh sea\nwind lifted the hair on their bare heads.  The surf ringed the grey\nsands at their feet with long foaming lines.\n\"It's so beautiful, so beautiful, this land and sea, Gregg, that I feel\ntoday must bring us some good luck!\"  Jean, out of sheer exuberance,\nwas skimming along ahead, her arms outspread, her chin high, as she\ndipped and leaped in imitation of Senott's sea-gull dance which she had\nseen at the Potlatch.\n\"Wait a minute, wild girl!\" called Harlan, endeavoring to accomplish\nthe feat of rolling up a trouser leg as he hobbled.  \"Come back here!\"\nHis voice took on an exaggerated tone of threat.  \"Don't you realize\nthat a squaw's place is three steps to the rear!\"\nIn answer to his shout she turned, and laughingly waited for him.  He\nadvanced, suddenly assuming the slouching, shoulder-swinging gait of\nthe \"bad man,\" his brows drawn and fierce, his chin thrust out.\n\"Don't cross muh, woman!\" he hissed, melodramatically.  \"I tell yuh,\nI'm rough, an' I'm tough, an' I'm from Katleean!  Muh bite is poi-sson,\nan' muh s-s-s-ting is d-e-a-t-h!  To the rear, I say!\"\nQuick as a flash the girl bent, and catching up a long streamer of damp\nkelp tossed it about his neck, retaining her hold on it as she ran\nahead.\n\"Speak not to me of the rear, Man!\" she intoned boastfully.  \"_I_ am\nXun, the Unfettered!  Xun, the Woman-of-the-North-Wind!  Men move not\nin the North except by my will.  My breath in their lungs brings\noblivion.  My voice in their ears--and the trail--is--empty!  Come!\"\nLaughing derisively at his pawing efforts to dislodge the clammy kelp,\nshe drew him along until the streamer broke.  Then still talking their\nhappy nonsense, they trotted side by side toward the cliffs.\nHalf a mile farther on Jean sat down on a spherical boulder and donned\nher moccasins.  Afterward they turned in from the beach, crossed a flat\nsweep of tundra and ascended the hill to the top of the Island.  As\nthey walked toward the edge of the cliffs the shrill chorus of\nthousands of sea-birds grew louder.\n\"O-o-o-o!\" there was a little bell-like shiver in the girl's voice.\n\"There's no sound in all the world so wild, so suggestive of the\nmystery of the untamed, as the calling of nesting gulls, Gregg!\"  They\nstood on the promontory with the winged things dipping and swirling all\nabout them.  Jean continued slowly, as if trying to put into words some\nillusive feeling.  \"Sometimes--it frightens me--I don't know why--and\nat the same time, it fills me with such a sense of freedom and\nlightness that often, just for a little moment, I almost believe I too\nmight rise into the air and balance myself against the breeze with\nthem!\"\nHarlan had never seen the nesting grounds of gulls in season, but Jean,\nbefore coming to Kon Klayu, had once gone ashore on a gull island\nduring laying time.\n\"For weeks afterward,\" she told him, \"every night when I closed my eyes\nI could see the green waving grass and grey sand dotted with hundreds\nand hundreds of crude nests.  Each nest contained from one to three\neggs, larger than duck eggs, and of a nile-green color closely speckled\nwith brown, yellow and lavender.  Why, they were so near together,\nGregg, that it was difficult to step without crushing the eggs!\"\nWith the memory of the gull island in her mind, she started with Harlan\nto traverse the stretch of green back of the promontory.\nBack and forth for a square mile they went, searching the flat above\nthe cliffs.  Gulls, flying above, eyed them curiously, making strange\nhuman sounds.  Occasionally one alighted on the ground.  As often as\nthis happened they raced hopefully to the spot but found nothing but\ngrass blades bending from the wind.\n\"It's no use, Jean,\" Harlan decided, after two hours' vain effort.\n\"It's too early for them to lay.  Let's go back to the edge of the\ncliffs.  The shags lay earlier, I believe, only their nests are so\nblamed hard to get at down there.\"\nJean was not enthusiastic about shag nests.\n\"They fill me with melancholy--those long-necked, black creatures,\nGregg,\" she said uneasily.  \"Lollie and I call them witch-birds.  I\nremember last fall we used to sit on the porch steps in the afterglow,\nwatching them--strings of dusky, witch-birds, speeding silent and low\nover the darkening water to the cliffs.  But, if you wish,\" she added,\n\"we'll go and see.\"\nThey headed for the windy heights overlooking the ocean, where nodding\ntundra grass fringed the space beyond.  Harlan took her hand as they\ncrept close to the edge.  They peered down through the cloud of wild\nfowl that swarmed in uncounted thousands before their eyes.  Three\nhundred feet below, deliberate blue rollers, with spray-laced tops\nswept in and broke against the rocks, the impact sending whitened water\nhigh into the air.  The face of the cliff was plastered with seabirds:\nmurres, gulls, sea-parrots and cormorants.  Harlan threw a stone down\nand the air became black with them, leaving the numbers in the rocks\napparently the same.  Sea-parrots flew in from the water and\ndisappeared under the overhanging sod at the top.  Mingled with the\nbreath of the ocean was the wild, unforgetable odor that clings to the\nplaces where seabirds roost.\nSuddenly Harlan spoke.  \"There _are_ shags eggs down there, Jean, but\nthe cliff right here is too steep for us to get them.  I couldn't even\nlet you down over the edge on the rope.  But I'll tie one end to you\nand we'll go along here until we find a place from which I can descend,\nperhaps.\"\nThey drew back from their perilous position, and after making fast the\nrope about Jean's waist, proceeded, stopping at intervals to lie flat\nand look down over the rim of space.\nThey were feeling their way along the highest part of the Island, when\nsuddenly at their feet the tundra opened in a deep cleft not over five\nfeet wide.  It began six yards or more back from the edge and led down\nbetween crumbling, rocky walls at a fearful incline, to a ledge thirty\nfeet below.\nJean drew back with a cry at the sense of peril that came over her, but\nHarlan looked eagerly down.\n\"By Jove, there are a _lot_ of eggs on that ledge,\" he announced\nenthusiastically, \"and we can get them!\"  He hesitated a moment,\nconsidering.  His eyes sought hers.  \"You're not strong enough to lower\nme down to the ledge, Jean, but--would--would you be frightened if I\nshould let you down to them?\"\nFor one awful moment the sea and sky and birds swirled together as the\ngirl stood, steeped in fear.  Then the raucous cries of the gulls\npenetrated her consciousness like shrieking voices calling: \"Coward!\nQuitter!\"\nHarlan was saying convincingly: \"I wouldn't let you fall, Jean.  My\narms are strong as a blacksmith's--\" he flexed the muscles beneath his\nthin shirt--\"and see, there's a depression here at the head of the\nchasm.  I can stand in it and brace myself!\"\nTen minutes later Jean, with her heart beating fearfully, stood facing\nHarlan, as she prepared to back down the steep rocky slide.\nCHAPTER XXIX\nTHE SECRET OF THE CLIFFS\nAs she felt herself going down step by step, Jean kept her eyes\nresolutely shut.  She steadied herself with outstretched arms and hands\njust touching each wall of the cleft.  The rope tightened about her, as\ninch by inch Gregg let it out from above.  Gradually as all went well,\ncuriosity overcame her fear and she opened her eyes.  At that instant\nthere came a whirr and a flapping of wings that set her heart thumping\nagain, and out from the overhanging tundra on top of the cliff an\nastonished sea-parrot flew, so close that the tip of his wing stung her\ncheek.  She could hear other birds below and about her beating their\nwings and hurling themselves in alarm from their resting places.  Far\nbeneath the billows detoned against the crags.  With hands and feet now\nshe clung to the rough juttings of rock as she was being lowered.\nHarlan's voice, shouting encouragement, gradually became fainter.  At\nlast she felt her feet strike the flat of the ledge.\nWith a gasp of relief she straightened and turned to look about her.\nShe stood high on a narrow shelf thrust out from the sheer-rising\ncliff.  Before her face swarms of birds fanned the air, their wrangle\nand jangle sounding almost in her ears.  The wind stirred the acrid\nsmells about her.  At her feet were several crude nests of sticks.\nThey contained eggs smaller than hen's eggs and of a pale greenish\ncolor.  They were the first she had seen for nine months and the sight\nsent a thrill through her.  With a little laugh at her own enthusiasm\nshe untied the bucket at her waist and carefully worked her way from\nnest to nest as she gathered them.\nJean, not being one of those who find themselves affected by heights,\nquickly became accustomed to her perilous shelf above the sea.  After\ntucking a large silk handkerchief about the eggs to insure their\nsafety, she sat down on the ledge to look about her.  Every nook and\ncranny in the surrounding rocks was alive with birds.  Close to her,\nlong-necked shags on wide-spread wings balanced with dusky gracefulness\nbefore sailing away through the myriad screaming gulls.  Dignified\nmurres, their backs to the sea, sat soldier-like in the crevices like\nplumb-bobs from their perches.  Huge-beaked sea-parrots squatted with\ncomical solemnity or flapped quickly away toward the outer reaches of\nthe ocean where thousands of their kind floated on the water like a\nblack cloud.  These were the love-days in bird-land--the mating time\nfor all feathered things.  Sitting there, the girl felt a sudden\nkindred friendliness for all these small creatures--a feeling of\nat-one-ness and sympathy with their little lives and nest-making\nambitions.\nAs she became more at home on her ledge she began to look about her\nwith a view to exploring further.  She lay flat on the rock and peered\ndown.  Below her on the floor of the sea, now exposed by the falling\ntide, she saw dozens of the strange, perfectly round boulders that had\nbecome so familiar to all on Kon Klayu.  They were of assorted sizes,\nand where they lay thickest there was no seaweed or kelp. . . .  After\nsome minutes she became aware that from one end of her ledge where it\njoined the cliff, and running parallel to it, rough, out-jutting rocks\nslanted downward in a crude, natural stairway, almost to the beach.\nWith care, she told herself, after a long scrutiny, she might make the\ndescent.  The rope about her she knew could not reach to the bottom of\nthe cliff.  She would untie it and trust entirely to her clinging hands\nand prehensile moccasined feet.  She stood up, suddenly confident of\nher own powers in this element.  Cupping her hands about her mouth she\nshouted to Harlan informing him of her intention.  Evidently he did not\nhear her, or else she could not hear his answer.  After waiting a few\nminutes she untied the rope from about her and cautiously began the\ndescent.\nVery slowly and carefully she lowered herself, her feet and hands\nclinging tenaciously.  The keen salt wind ballooned her ragged skirts\nabout her.  Occasionally when her foot slipped and showers of loosened\nparticles rolled down startling birds from their perches in screaming\nclouds, she could feel the blood pounding in her temples in momentary\nfright.  At first she marveled at her own daring--then she reveled in\nit.\nAs she descended she began to experience that thrill which comes to\nthose who tread where no other human foot has trodden, who look on\nscenes no other human eye has visioned.  She felt sure she was the\nfirst to visit this part of Kon Klayu, for the steep cliffs at the\nsouth were inaccessible both from the east and from the west side of\nthe Island, even at the lowest tide.  And in all the tales of Kon Klayu\nshe had heard, no one had ever mentioned the chasm down which she had\ncome to the ledge.  In this section of tidal waves and occasional heavy\nearthquakes, it was possible that the cleft had opened up recently.\nAt last she felt her feet on the beach below.  She straightened and\nturned to face the ocean.  The waters were sewn with jagged rocks and\nlong-running reefs.  Sleek-haired seals bobbed up to look humanly at\nher.  A thin, high-rising jet of water afar out bespoke the presence of\na whale.  Back of her loomed the precipitous wall of the cliff.  She\ngasped at her own daring as her eye followed the rough stairway down\nwhich she had descended.  A moment she wondered, with dismay, if she\ncould possibly climb back again; a moment she pictured her plight\nshould she be caught here when the tide came in and covered the narrow\nbeach; then her attention was drawn by that which lay farther along.\nShe ran forward, wending her way in and out between the giant balls of\nstone that lay about her.\nAt the base of the precipice just ahead of her, and level with the sea\nfloor, she saw a huge opening.  As she approached, it widened, grew\nhigher, until she round herself peering into the yawning mouth of a sea\ncavern fifty feet wide and half that in height.  Like monster peas in a\ngiant's open mouth lay the spherical boulders on the bottom of the cave.\nShe was frightened, yet fascinated by her discovery.  She hesitated a\nmoment then advanced slowly into the cool dampness of the place.  As\nfar ahead as her eye could pierce the dimness, the balls of stone lay\ncatching the light on their rounded surfaces.  The walls closed in\nabout her, as she walked.  Water dripped on her.  Her feet splashed\nthrough puddles in the uneven, hard bottom, but here there was no trace\nof the seaweed that draped the rocks in all other parts of the Island.\nThe sound of breakers booming against the reefs came to her in the\ncavern with a strange reverberating effect.  The underground way ran on\napparently with an upward slant as far as she could see.  She longed\nfor a light so that she might explore further. . . .  After some\nminutes advance into the deepening gloom, a feeling of timidity began\nto assail her.  She paused leaning against a lobsided boulder.  The\nabsence of life, the stillness, the Stygian darkness ahead seemed\nsuddenly ominous.  She turned and saw the mouth of the cavern far back\nof her.  Like an oblong frame it enclosed a small bright picture of\nbeach and sunlit sea.  Undoubtedly, she thought, when the tide was\nfull, the ocean rushed in along the floor of the cave.  Perhaps, when\nit was stormy, it rolled the giant balls of stone backward and forward.\nOnce more she glanced toward the unknown inner recesses of the cavern;\nthen, with a little shiver, began making her way back toward the light\nagain.\nHer foot went down with a quick splash into a water-filled depression,\nand in shaking the drops from her moccasin she noted that the strings\nwere untied.  She stooped to fasten them; her eyes now perfectly\naccustomed to the dim light, caught a dull gleam at the edge of the\npool.  She was conscious of a wild thumping of her heart--an eager\ntrembling of the hand she instinctively reached forward.\n\"No, no!  It _can't_ be,\" she temporized aloud, as if to fortify\nherself against disappointment.  She forced herself to finish tying her\nmoccasin, and even looked to the security of the other one before she\nhesitantly reached over and put her fingers on the object that had\nattracted her.  She held it up to the light.\n\"Gold!  Oh, it _is_ gold!\" she breathed.\nIn her hand lay a flat piece of yellow metal, smaller than the nugget\nLollie had found, but of the same character.  She dropped to her knees\nand with unsteady eagerness searched the bottom of the shallow pool for\nother nuggets.  Her trembling fingers encountered another one, and\nstill another!  Then her luck seemingly came to an end.\nThe floor of the cave was strangely worn and filled with numerous\ndepressions into which the sand had settled.  Jean finally dipped her\nhands into the pool again and brought up perhaps a cupful.  She ran\nwith it out to the beach and spread it out over a boulder.  It was\nblack, showing tiny garnet-like particles, and here and there the sun\nglinted on colors of gold!\nShe gathered the precious sand together again and stuffed it into the\npocket of her shirt, then swiftly set off toward the spot where she\ncould ascend the cliff.\nSuddenly she remembered Gregg waiting for her at the top.  She gasped,\ndismayed by the knowledge that she had been totally unconscious of the\npassage of time.  Had she been gone an hour, two--or perhaps more?\nWhat was he thinking?  Perhaps he had tried to descend the cleft after\nher and had fallen.  Perhaps he was even now lying on the ledge\nbroken--dead.\nTrying to shut out these unwelcome thoughts which took away all the joy\nof her discovery, she hastily began her scrambling ascent of the steep\nincline.\nShe had gone only a few feet when a shout halted her.  Glancing up she\nsaw Gregg's relieved face above her.\n\"Thank heaven, your're safe, Jean!\" he shouted, and with reckless\ndisregard of consequences he began to slide from the ledge toward her.\n\"I thought you'd fallen down the precipice, when I pulled on the rope\nand found you not there!\"\nHe landed on the beach at her feet.  The tense look on his face faded\nas his eyes devoured her.\n\"Lord, girl, what ever made you do such a thing!  I rushed back toward\nSkeleton Rib and met Kayak Bill coming this way.  He let me down to the\nledge--for I couldn't get down any other way.  He's up there now\nwaiting for us.  Doggone you, anyway, you little rascal!\"--he laughed\nshakily, grasping her by the shoulders,--\"you nearly scared me to\ndeath!\"\n\"But just see what I've found!\"  Jean opened her hand suddenly, and\nwith the three nuggets lying on it raised it toward his eyes.  Then\nwithout waiting for him to look at them, she thrust them into his hand\nand began to drag him toward the mouth of the cave.\nHalf an hour later two wild, troglodytic figures were giving vent to\ntheir joy by capering and dancing about the floor of the cavern.\n\"Jean, you've struck it rich!  You've found the source of the gold of\nKon Klayu!\" Harlan shouted for the fifth time.  \"It's better than beach\nmining!  It's better than Shane ever dreamed!  I know enough to venture\nthat this whole blessed little isle must have a base of igneous rock\nand the formation of this south end, especially, is impregnated with a\nnetwork of gold-bearing dykes!  Why, anyone could see that by the walls\nof this cave!\"  He bent, scooped up a handful of sand, and with eager,\nshining eyes watched while he spread it over his palm.\n\"Just imagine this hollow during one of our terrific sou'westers,\nJean,\" he went on, looking about him.  \"The monster billows crashing\ninto this cavern, rolling the boulders along the bottom, grinding them\nalong this gold-bearing formation!  By Jove, the action is the same as\nthat in a stamp mill, almost!  The gold is freed, becomes mixed with\nthe sands, and sooner or later is carried out and concentrated along\ncertain zones on the Island.\"\n\"But away goes all the mystery of our Island, too, Gregg!\"  Jean's\nvoice carried a hint of regret.  \"That accounts for the strange,\nrolling sounds we used to hear during the storms, and for the giant\nballs of stone, and for everything!\"\nThey filled their pockets with samples of the sand to take home to\nShane, and ascended to the ledge.  From thence, with the assistance of\nKayak Bill and the rope they mounted one after the other to the top of\nthe precipice.\nThe old man listened to their story of the cavern in silence, though\nhis eyes were glowing.\n\"By . . . hell, from what yore a-tellin' 'o me, children, you sure have\nstruck it rich!\" he drawled at the end.\nJean threw her arms impulsively about his neck and landed a kiss on his\near.\n\"We all have struck it rich, you old dear!  We'll stake the whole\nlittle Island of Kon Klayu, and if we can ever get to the States to get\nan outfit, we'll come back here and work it.\"\nJean knew that any show of affection caused Kayak acute, wriggling\nembarrassment.  He backed away from her now, his cheeks fiery red.  To\ncover his momentary confusion his hazel eye impaled Harlan's ragged\nback, which was showing the effects of his rapid slide down the cliff.\n\"Young man,\" he declared with slow solemnity.  \"The bosom o' yore pants\nis showing conside'ble wear an' tear.\"  Gregg whirled to face him, but\nbefore he could utter a word, Kayak, now master of himself once more,\ndrawled on: \"It never rains but it pours, I reckon.  I plumb forgot to\ntell you, Gregg, that just a-fore you drug me up here this afternoon,\nme and Boreland was a-mouchin round just south of Skeleton Rib and\ndurned if we didn't come across the old whaleboat, high and dry with\ncelery bushes a-growin' up around her.  She's stove in some, but we can\nfix her--and I reckon we'll be settin' sail for the mainland in a\ncouple o' weeks!\"\nCHAPTER XXX\nTHE PIGEON'S FLIGHT\nWonderful as it was, the discovery of the gold took second place with\nthe finding of the whaleboat.  Gold had no more value than sand on Kon\nKlayu, unless the adventurers were rescued, and the whaleboat meant at\nleast a chance of rescue, provided it could be made tight enough to\nfloat.  It is true that with summer coming on there would be an\nabundance of eggs, sea-parrots and later on berries, for already the\nnorth end of the Island was white with strawberry blossoms--but flour\nand coffee were now all that remained of the supplies, and the flour\nwas low in the barrel.  Help must come before another winter set in.\nEllen, in her first joy over the discovery of the whaleboat, had joined\neagerly in the plans which the three men discussed at the cabin.  She\nsaw herself freed at last from the terrible necessity of summoning Paul\nKilbuck.  The pigeon could fly--she had tested it.  In another week she\nwould have sent it with the message that meant life to her family, but\ndeath to her own peace and happiness.  But now--in her relief the last\nvestige of her illness fell from her.  She felt strong again, ready to\ntake up her work about the cabin.  She found herself, for the first\ntime, able to look normally on the smoke-grey creature, seeing it as a\nbird, and not as a hated, yet horribly cherished representative of the\nWhite Chief of Katleean.\nIt was slow work putting the old and battered whaleboat in repair.\nEllen had not seen the craft since its recovery, but Shane had told her\nthat every seam needed recalking.  There was no oakum for the purpose,\nso she tore up some garments that neither she nor Jean could spare.  He\nspoke casually of a cracked plank or two that would be strengthened by\ntacking pieces of canvas and tin both inside and out.\nAfter several days Ellen noticed that Harlan and Kayak Bill ceased to\ntalk of the proposed trip, although Shane still kept up a brave front\nand spoke confidently, in her presence at least, of landing at\nKatleean.  She began to feel vaguely uneasy.\nOne morning when Jean and Lollie had gone off to gather gull eggs,\nwhich were now found in small quantities, Ellen decided to take lunch\nto the men who were working on the whaleboat a mile and a half away.\nAs she approached the spot she saw the upturned hull of the boat lying\nupon the sand.  No one was in sight.  She gasped as she saw the\nbattered condition of the craft.  One end seemed splintered and a\njagged hole showed plainly in the bottom.  Three other holes had been\nmended with tin.  The next instant she was aware that the three men\nwere sitting on the other side of the whaleboat, resting probably.\nTheir voices floated out to her distinctly.\n\"We mout as well face the music, boys,\" Kayak Bill was saying.  \"We're\nup against the damn'dest bit o' coast in Alasky, and in a rotten tub\nlike this it's a ten to one chance we're takin' but----\"\nAt this point, to Ellen's vexation, the paper containing the lunch\nburst apart letting half a dozen gull eggs, which formed the principal\npart of it, fall to the sand.  Instinctively she stooped to gather\nthem.  The next words that came to her told her that Shane and Kayak\nwere discussing the unwritten law of the North--the law of the cache.\nIn a land where food is the god supreme, this law has made itself.\nWhite and native alike bow before it.  It means life.  The food cache,\nno matter where found, is inviolate.  Than robbing a cache there is no\nmore foul or cowardly crime.  And ranked with the cache robber is the\nman who goes back on his promise, or fails, through neglect, to furnish\nfood to those who depend on him.  Death, Ellen knew, is the penalty for\nboth crimes in the remote places of Alaska.  As she went forward she\nheard the White Chief's name and some words that were unintelligible to\nher.  Then Shane came to his feet.  He was speaking in a voice\ntoneless, dispassionate, but weighted with finality.\n\"I'll do it, but I don't need a gun, by God!\"  From his pocket he drew\nhis revolver which he had taken that morning in the hope of getting a\nseal.  He laid it across his other palm.  \"I have five shots left--but\nI'm going to do it with my hands on his throat!\"\nAs he finished speaking Harlan and Kayak Bill stood up also.  The young\nman turned and saw Ellen coming toward them.  There was a moment's\ndissembling as Shane returned the pistol to his pocket, then he greeted\nher with a cheeriness which in no way deceived her.\nShe said nothing that might betray her comprehension of the situation,\nbut as soon as she could, retraced her steps to the cabin.\nShe knew now that while it was in her power to prevent it she could\nnever allow her men to put to sea in the unseaworthy whaleboat.  One\nchance in ten, Kayak had said.  Even during the best weather they had\nknown on Kon Klayu she herself had seen a gale blow up in two hours.\nOne chance in ten.  The words repeated themselves in her brain.  And if\nthey did make the mainland--what then?  \"I don't need a gun. . . .\nI'll do it with my hands on his throat!\" . . .  The clash between Shane\nand the White Chief was inevitable now, no matter how the meeting came\nabout.  She was enough of a frontier woman to appreciate this.  She\nwould summon Kilbuck at once, before her men had a chance to risk their\nlives, and when she had sent her message, she would tell Shane her\nwhole miserable story beginning with the night of the Potlatch dance.\nHe might lose faith in her; he might despise her, but she knew that he\nwould fight for her.\nShe took out pen and paper and sat before the table to write her\nmessage to the White Chief.  She must make it so urgent that he would\ncome at once before the whaleboat was launched again.  She wrote\nseveral, but discarded them.  At last she was satisfied.  Folding the\npaper tightly she slipped it into the little finger of a thin kid glove\nshe had cut off for the purpose.  Then she went out to the pigeon's\ncage.\nWith the fluttering bird in her arms, she ascended the trail to the\nLookout.  At the top the home-made flag flung its tatters out in the\nsunshine.  Ellen noted that it blew toward Katleean.  The wind, then,\nwas favorable.  The trader should have her message by morning.  And in\ntwo more days--she shook her head, not permitting herself to think\nfurther.\nA few minutes she stood looking seaward.  Then she held the bird out in\nboth hands and with all her strength tossed it into the air.\nFluttering wildly, it recovered its balance, circled narrowly, rose a\nfew feet and--settled down on the tundra before her.  It took a few\nlimping steps.  Ellen was puzzled at its behavior.  Perhaps she had\ntied the message too tightly about its leg.  She would readjust it and\nurge the bird to flight again.\nWith outstretched hands she advanced toward it and tried to imprison it\nbetween her hands, but the pigeon flapped along ahead of her just out\nof reach.  After some minutes' running back and forth over the short\ngrass she caught it, and with her back to the flagpole, sat down on a\npiece of firewood to loosen the string about the creature's leg.  So\nintent was she on her work that she did not at once hear the sound of\napproaching footsteps.  When she did turn her head quickly it was to\nlook up into the anger-lighted eyes of her husband.\nHe reached roughly across her shoulder and with one hand grasped the\npigeon by the legs.  With the other he thrust toward her two pieces of\nthin writing paper.\n\"Now, perhaps, you will explain these!\" he said in a voice that\nfluctuated strangely from his intense effort to control himself.\nDazed by the unexpected turn of affairs Ellen rose and mechanically\ntook the sheets.  They were two half completed notes to the White\nChief--notes she had discarded.  She must have overlooked them when she\nburned the others.  What had she said in her anxiety to bring Kilbuck\nimmediately to Kon Klayu?  What had she said to arouse Shane's sleeping\ndevil of jealousy which she had known often during the first years of\ntheir married life?  \"Paul Kilbuck,\"--the words stood out black in her\nlarge handwriting.  As she read the words she slipped the other paper\nover them.  \"I want you now----\"\n\"So you want him _now_, do you?\"  Mocking fury sounded in Shane's\nvoice.  \"You want him now, this fine, squaw-man lover of yours who left\nyou to starve!  God, what a blind fool I've been--but I can see it all\nnow.  I remember his whisperings to you that day we left Katleean--\"\nHe snatched the papers from her hand and thrust them into his pocket\nwith a bitter laugh.  \"I'll deliver your loving message myself just\nbefore I choke--him----\"\n\"Stop, Shane!\"  Suddenly Ellen was herself again.  She knew nothing\nthat had happened between her and the White Chief was one tenth as\ndishonorable as the things Shane's jealous imagination pictured.  She\nstepped over to him and laid a hand on his trembling arm.  \"I _can_\nexplain these half written notes,\" she said quietly.  \"I can explain\neverything, Shane.\"\nShe looked up into his tense, passionate face.  He must have seen\nsomething in her blue eyes that claimed him, for he asked more\nreasonably:\n\"Tell me, then.\"\nBeginning with her distrust of the trader she did tell him.  She ended\nwith her attempt that afternoon to send the pigeon with a message\nurgent enough to bring the White Chief to their rescue before Shane and\nhis partners had sailed away in the leaky whaleboat.\nWhen she finished Shane made no comment.  She waited.  Was it possible\nhe did not believe her?  A long minute went by . . . and then another.\n. . .  Obeying an impulse she did not understand she swiftly took the\npigeon from him and tossed it once more into the air.\nIt readjusted itself and rose confidently.  There was a swift movement\nas Shane whipped his revolver from his pocket.  Before the bird had\nflown twenty feet he fired.  The first shot missed, but the second\nbrought the smoke-grey pigeon to the ground.\nA moment later Ellen felt her husband's arms about her.\n\"God love you, little fellow.\"  There was tenderness, contrition and a\ngreat relief in his tones as he laid his cheek against her hair.\n\"Sure, nothing matters now that I know it's myself you're still in love\nwith and not that damnable blackguard in Katleean!\" . . .\nFor an hour they sat on the log below the flagpole, explaining,\nmutually forgiving, planning.  Shane, with Irish logic, chose to see in\nthe death of the pigeon, a riddance to all adverse circumstances.  He\nseemed suddenly endowed with a new faith concerning the trip in the\nwhaleboat and succeeded in imparting some of his enthusiasm to his wife.\n\"Luck is with me, El.  I tell you I can feel it in my bones.  The devil\nhimself can't keep me from making Katleean now,\" he declared\nconfidently as they walked hand in hand toward the trail that led down\nto the cabin.\nAs if fortune had at last decided in their favor, the days went sunnily\nby.  Gulls began to lay by the thousands.  Loll was relieved of his\nhated task of killing sea-parrots, for Harlan discovered that when the\nbirds began to lay, he could urge them from their tunnel nests with a\nlong stick, and capture them.  The whaleboat, repaired and recalked,\nwas launched and brought down to the beach before the cabin.  All was\nin readiness, at last, for the journey.\nThe evening before they were to set sail Jean went up the hill to the\nLookout to help with the last signal fire she and Gregg would build\ntogether.  The night air, soft and scented, was like a caress to the\nsenses.  Sea and sky were luminous with the rose and amethyst tinting\nof Alaskan nights.  The three plaintive descending notes of the\ngolden-crown sounded from the alders along the crest of the hill.\nWhen she reached the top she found a camp-fire glowing above the ashes\nof past flames.  Gregg had preceded her and at her coming he tossed his\nold blanket coat to the tundra for her to sit upon.  He took his place\nbeside her.  Their usual gay exchange of badinage had failed them\ntonight.  For a time they sat silent, with arm-clasped knees, looking\ninto the vermilion heart of the fire.  All day the shadow of\napproaching separation had weighed the spirits of each with heartache\nand anxiety.  Yet each knew that in this hour tonight there was some\npotent quality, some indefinable magnetic thing that seemed to charge\nthe air with sweetly mysterious emotions.\nPeople of the cities, worn with the artificialities of civilization\nfeel the need of some powerful stimulus to arouse emotion: Love is\noften born of the wine cup and a dusky, cushioned corner; of music; of\nthe dance.  When the glamour of these is removed--love dies.  But\ninborn in the heart of every man is a love-dream--a dream of some day\nfinding that mate who shall battle cheerfully side by side with him\nagainst environment; that mate whose courage, whose understanding,\nwhose faith shall enable him to laugh at the buffetings of Fate and go\nunafraid down the years with the light of dreams in his eyes.\nPerhaps with Jean and Gregg it was the subconscious knowledge of the\nfulfillment of this universal dream that kept them happy during all the\nlean months on Kon Klayu.  They had shared elemental things; together\nthey had hunted food that they might live, battled against storms,\nendured hardships.  Together they had sung and laughed and made a\nplaytime of it all, and slowly there had grown up between them a love\nas clean and wholesome as the summer winds that swept the tundra of\ntheir Island.  Hitherto they had felt no need of caresses or words to\nexpress their joy in one another.  They had been happy as children are\nhappy, with no thought of tomorrow.  They had parted each night knowing\nthat morning would bring them together again.  But now . . .\nJean, looking into the flame of the fire, dropped her chin in her\ncupped hands.  Incongruously, it seemed to her, at that instant there\nflashed into her mind the memory of a day on an Island trail, when she\nand Gregg had come suddenly on a sea vista of heart-stopping beauty.\nHis eyes had sought hers in quick, silent appreciation of it.  She\ncould not tell why this simple incident should suddenly seem so\nintangibly beautiful, but she knew now that it was a moment out of life\nthat they two would share forever.  There had been other times when\nthey had sung together under the golden winter stars--fleeting,\nrapturous spaces when she had been conscious that not only their\nvoices, but in some way their spirits blended.  But now . . . he was\ngoing away into the gravest danger--into death perhaps. . . .\nShe overcame a quick impulse to reach out, to feel him under her hands,\nto hold him back.\nGregg rose to place another log on the fire.  He brushed his hands one\nagainst the other and thrust them deep into his pockets.  She felt his\ndark eyes compelling her own, and raised her face from her hands.\nNeither spoke, but for a long tempestuous moment they looked at each\nother.  Something perilously sweet and magnetic drew her.  Even as she\nrose Gregg was at her side.  She felt his arms close about her with\neager tenderness.  She stood against him within his hold, tremulous,\nthrilling to his nearness, yet even in the ecstasy of it, realizing\nthat their separation was now made more poignantly unbearable.\n\"Jean . . .\" a little hoarsely he said her name, and she was aware that\nhis heart was beating as wildly as her own.  \"Jean, you--you are so\ndear to me!  When I come back, could you--will you marry me?\"\nHis arms tightened about her as his head bent to hers.  In answer she\nraised her face to his, and in the first joyous enchantment of young\nlove met his kiss.\nTwo hours later she lay in her little bunk steeped in glad tumultuous\nmemories of those last moments on the Lookout.  Her spirit fared forth\non the wings of her love into the future--a future made beautiful\nbeyond her girlish dreams.  She told herself it was not possible that\nother men and women loved as she and Gregg; not Ellen and Shane, . . .\nnot anyone. . . .  All at once she became conscious that in the\nliving-room her sister and brother-in-law were still talking, though\neveryone else had long since gone to bed.  The indistinct murmur of\ntheir voices mingled with the metallic clicking sound that informed her\nShane was again oiling his revolver.  Then his words came to her with\nlow distinctness:\n\"El, I'm going to leave this with you.  There are three cartridges left\nin it, and if--if--I don't come back and no help comes to you before\nanother winter . . . you know--little fellow--you know what to do.\"\nCHAPTER XXXI\nTHE JUSTICE OF THE SEA\nBecause there is no night in the Northland in June, dawn on Kon Klayu\nwas but a tender merging of golden twilight into amber and rose and\nblue, with the sun reappearing within an hour of his setting, kissing\nthe summer sea into sparking sheets of silver and jade.  The little\ngreen Island with its girdle of creaming surf had never seemed so\nbeautiful as in the early morning of the day Shane and Kayak and Harlan\nsailed away in search of help.  The electricity of adventure, of hope\nwas in the air, and the wind was as soft and balmy as a breath from\ntropic seas.\nAfter the last good-bye had been said, Ellen, Jean and Loll stood on\nthe beach below the cabin watching the little whaleboat riding the\nlong, gentle swells just outside the line of breakers.  The tin patches\non the frail sides glinted bravely in the sunshine, the mended old\nChristopher Columbus sail caught the breeze, and slenderly outlined\nagainst it were the forms of Shane and Harlan waving a cheerful\nfarewell to the watchers.  Kayak Bill, his hand on the tiller and his\nface turned resolutely away, headed the pathetic craft out into the\ntreacherously smiling North Pacific and laid his course for Katleean.\nThe boat was slowly lost in the sunny silver distance, and the sisters,\narm in arm, turned and listlessly followed the trail back to the cabin.\nLollie walking on ahead, brushed the tears from his eyes and squared\nhis narrow shoulders as if already he had assumed the responsibilities\nof the man of the family.\nThe door of the cabin stood open and the sun made a great rectangle of\nlight on the floor.  It was very quiet--and lonely.  The loneliness was\nnew to both women and it hurt like a pain in their souls.  It seemed\nimpossible that nowhere on the Island were the men to whom they were so\naccustomed.\nEllen began picking up the dishes which were standing as she had left\nthem after the early breakfast.  Jean helped her.  When the work was\nover there seemed nothing left but the aching emptiness of waiting.\nThe long day wore away at last.  Tomorrow, if the wind held favorable\nand all went well, Ellen and Jean assured each other repeatedly, the\nwhaleboat would reach Katleean, and in two more days a ship might come\nfor them.\nAt twilight Jean climbed alone to the Lookout.  The sunny day had faded\nin a grey mist.  Afar down toward the south cliffs the tree so like a\nwaiting woman stood out against it in weird, life-like appeal.  The\nflat desolation of the plateau was marked by the tundra trail that led\nacross the Island to the Hut--the trail along which Gregg had so often\ncome to meet her.  She had not dreamed that life could hold so much of\nemptiness nor that longing for a loved one could be so intense as to be\nalmost a physical pain.  She sank down beside the dull ashes of last\nnight's fire.  The loneliness was almost unbearable.\nFrom the pocket in her blouse she took a folded paper.  Gregg had\npressed it into her hand as he left that morning.  She unfolded it.  It\nwas a verse from some poet unknown to her.  \"Read it when I am gone,\"\nhe had whispered to her.\n  \"When I am standing on a mountain crest,\n  Or hold the tiller in the dashing spray,\n  My love of you leaps foaming in my breast,\n  Shouts with the winds and sweeps to their foray;\n  . . .  I laugh aloud for love of you,\n  Glad that our love is fellow to rough weather--\n  No fretful orchid hothoused from the dew,\n  But hale and hardy as the highland heather,\n  Rejoicing in the wind that stings and thrills,\n  Comrade of the ocean, playmate of the hills.\"\nBefore Jean had finished, her shoulders had straightened.  She felt\nstrangely comforted, lifted out of herself.  Surely, she thought,\nnothing but happiness could come of a love like this.  Even the\nelements must be kind to one who loved so.  Back in her little bunk she\nthought of him out on the dark sea in an open boat with only the night\nfor a covering, and to calm her fears she repeated over and over again\nthe words of the verse he had left her.\nHer faith was sorely tried the next morning when she woke to the old\nfamiliar roar of wind and wave, and felt the cabin trembling in the\nblasts of a gale.  She saw, with alarm, that Ellen was not in her bed.\nOn investigating, Jean found her out on the beach standing bareheaded\nwhile the wind wound her garments about her, loosening the strands of\nher braided hair and pelting her with rain and flying spray.  Ellen was\ngazing, in a fascination of dread, at the green-back waves humping\ntheir backs like fearful monsters, chasing one another in to the line\nof foaming breakers that spent themselves at her feet.\nJean slipped her hand into her sister's and drew her back to the cabin.\nWhen they entered Loll was up making a fire in the Yukon stove.\nThe day wore on.  The storm increased, though it never became as\nviolent as some they had experienced during the winter.  The direction\nof the wind was favorable to their sailors.  Both women knew that no\nmake-shift craft could live in such a sea, yet they hoped with an\nintensity akin to despair that Shane had made the shelter of Katleean\nBay before the full fury of the storm was reached.\nNight came on darker than usual, low scudding clouds and flying\nwavetops seeming to mingle.  Waves sheeted with foam faded ghost-like\ninto the tossing greyness.  Drifts of rain blew stingingly in from the\nsea.  Cruel and cold the waters appeared now to Jean's anxious eyes,\nand she found herself repeating again the lines of Gregg's verse, as if\nit had become the tenets of her faith.\nThe second day of the storm passed as did the first, except that\nevening brought a surcease of rain.  The clouds in the west began to\nlift.  The sisters drawn closer by their common, mounting dread, slept\ntogether that night, one on each side of Loll.\nIt was long before sleep visited Jean.  But presently she was dreaming\nthat she dangled at the end of a rope over the cliff above the cavern,\ntrying to snatch nuggets from the rocky ledges.  The wind blew her body\nhither and thither, as she clutched the jutting crags.  She tried\nvainly to secure a foot or hand-hold.  From above Gregg's voice was\ncalling, calling her plaintively, weirdly.  She tried to make out his\nwords but could not.  The wind blew them far away, and only a faint,\nwild \"Awh-hoo-oo-oo-oo!\" came to her.  Then her rope began to slip and\nshe was falling, falling interminably past the face of the precipice,\npast shags' nests, past thousands of flapping birds who shrieked\ntauntingly at her.  With a convulsive movement she tried to spring to\nthe rock shelf below her--tried so hard that she woke trembling and in\na cold perspiration of dream-fear, with her heart pumping so loudly\nthat she could hear it.\nThe wind had died down and only the muffled beating of the great\ncombers on far seaward bars was audible, but--of a sudden she was bolt\nupright in bed, listening with every sense alert.  On the island, where\nthey three were the only human beings, someone, _something_ was\ncalling.  Above the sound of the sea it came--the haunting, long-drawn\ncry of her dream:\n\"Awh-oo-oo-oo!  Awh-oo-oo-oo!\"\nBut this was no dream.  The cry came again, one minute apparently from\nthe depths of the ocean, then from the Lookout above the cabin.  It\ncame nearer, growing more appalling, more mysterious in its\npossibilities.  It filled her with fearful, inchoate imaginings. . . .\nIn an agony of terror she reached out and shook her sister's shoulder.\n\"Ellen!  Ellen!\" she whispered tensely.  \"Listen!  Some one is calling!\"\nEllen awakened out of a belated sleep, raised on her elbow and tossed\nthe long loose hair from her face.\nAgain came the unearthly: \"Awh-hoo-oo-oo!\" rising thin and high and\ndying away on the falling inflection.\nEllen's face went paler as she listened.  She lingered a moment, then\nsprang out of bed.  Slipping her hand beneath her pillow she drew forth\nthe revolver and started for the door.  Jean crawled gently over the\nsleeping Lollie and followed.\nThey stood on the porch in the freshness of the dawn searching the\nfamiliar landscape for some sign of life.  The storm had cleared away\nand long scarf-like clouds streaked the intense blue above.  Once out\nin the open Jean's mind was cleared of its phantoms.  But a sudden\nshock went through her when, from just over the bank, the call came\nagain.\nAlmost immediately there appeared in the trail the strange, tottering\nform of a man.  He advanced haltingly as if spent from some long\nstruggle, his bare, black head sunk on his chest, his damp garments\nclinging to him.\n\"Stop!\" Ellen's voice rang out.  \"Tell me who you are and where you are\nfrom!\"\nThe man raised his head.  At the sight of the two women standing in\ntheir white robes, their loose hair floating about them, a spasm of\nmortal terror crossed his dark face.\n\"_Kus-ta-ka_!  _Kus-ta-ka_!\" [1] he yelled, at the same time throwing\nup his arms and turning to run weakly down the trail.\nEllen covered the staggering figure with her revolver, but Jean caught\nher hand.  \"Don't, El!  Be careful!\" she cried breathlessly.  \"Can't\nyou see--it's our old friend!  It's Swimming Wolf from Katleean!\"\nShe sprang along the trail after him calling: \"Wolf!  Oh, Swimming\nWolf!  Don't run away from us!  Don't you know your friends?\"\nThe man terrified by something, she knew not what, kept up his feeble\nrunning gait.  She overtook him and grasped his shirt.  The big Indian\ncollapsed on the sand.  His hand closed painfully over her arm while\nhis wild black eyes searched her face.  At the touch his look gave\nplace to one of relief.\n\"Ugh!  Little squaw with white feet!\" he gasped.  \"Swimming Wolf think\nyou all the same dead--think all you people dead.  Long time you have\nno grub.\"  He pinched her arm again as if to reassure himself that she\nwas flesh and blood and not the _kus-ta-ka_, the ghost he had thought\nher.  He continued: \"Long time now, Swimming Wolf no grub too.\"  He\nopened his mouth and pointed a shaking finger down his throat.  \"No\ngrub, no water, no sleep, t'ree day.\"  He held up three fingers turning\nhis head slowly from side to side.  \"T'ree day lost.  Plenty tired.\"\nHis voice was weary, plaintive, as only an Indian voice can be.  Jean\nwondered how she had for one instant attributed his Indian cry to\nsupernatural powers--she who had often heard him calling to members of\nhis tribe along the shores of Katleean.\nNoting his weak condition, the girl checked the eager questions that\nrose to her lips, and when Ellen came up, between them they managed to\nget the worn man to the cabin.  They fed him bread and hot sea-parrot\nbroth.  He ate ravenously as much as Ellen thought good for him, but\nwhen she tried to induce him to lie down in Kayak Bill's bunk, he shook\nhis head, and started unsteadily for the door.\n\"No, no!\" he said sharply.  \"You come along.  Other man with Swimming\nWolf.\"\nThey followed him down the trail to the beach and turned with him\ntoward Sunset Point.  He paid no attention to their eager questions,\nbut suddenly stopped and pointed ahead.  In the maw of the surf inside\nthe Point a whaleboat was churning.  At the sight of it cries of alarm\nbroke from the women's throats, but again the Indian shook his head.\n\"Him not there,\" he assured them.  \"Him up _there_!\"  He indicated the\nhigh-tide-line.  He lurched along beside them, intent on taking them to\nwhere his friend lay.\nThey saw the still dark form lying prone on the edge of the rice-grass\nwhere Swimming Wolf had dragged it.  Ellen, with a bottle of water and\nsome bread in her hand, ran forward toward the prostrate man.  Within a\nfew feet of him, Jean saw her check herself and shrink back.  Then,\nreluctantly the girl thought, she went on.  Jean quickened her pace.\nAs she approached Ellen turned swiftly to her.\n\"Jean!\" she said hardly above her breath.  \"Look!\"\nJean gazed with incredulous eyes into the face on the sand.  The black\nbeard was matted with seawater.  Below the bandaged forehead two weary\ngrey eyes opened.  A moment a faint look of surprise crept into them.\nThen they closed again and the man lay still as death.\n\"Oh-o-o!\"  Jean's voice held an uncontrollable quiver.  \"Oh-o-o!  It's\nthe White Chief of Katleean!\"\n[1] Ghost.\nCHAPTER XXXII\nBENEATH THE BLOOD-RED SUN\nA week had gone by since the day the White Chief and Swimming Wolf had\nbeen cast up on the shores of Kon Klayu.  The women, with the help of\nthe Indian, had lifted the inert form of the dazed man to a mattress at\nthe spot where they had found him, and dragged it literally inch by\ninch along the beach to the cabin.  They put him to bed in Kayak's bunk\nin the little room off the living-room.\nFor Ellen and Jean the days were filled with intangible doubt and\nmounting fear, for no sail whitened off Kon Klayu.  Added to the acute\nanxiety in regard to their men was now the problem of the White Chief\nof Katleean.  What queer twist of Fate had tossed the trader, helpless\nand without food, on the Island where his very life depended on those\nhe had left to starve?  And, if their men were lost at sea, what would\nhappen to them when Kilbuck recovered his strength?\nGradually, from the disjointed utterances of the superstitious Indian\nand from their own knowledge of the trader, they were able to piece\ntogether the story of the White Chief's mishap,--not the story as\nSwimming Wolf knew it, tinged with eerie Thlinget superstition and\nmystery--but the prosaic version of the white man, who sees everything\nthrough logical eyes, and is ever explaining away all that is\nmysterious in life and much that is interesting.\nThe White Chief, sometimes going for months without liquor, had, as\nthey knew, periods when he drank as no other man in all Alaska.\nCuriously enough, he never gave way to his desire while at Katleean,\nbut with one faithful native to attend him, he would go aboard some\nvisiting vessel, and there sink himself into the oblivion brought about\nby quantities of hootch.\nIt was in the latter part of May that a schooner, the _Silver Fox_,\ncame to anchor in the Bay of Katleean.  The owner and captain was a\nGerman, bound for Cook's Inlet with a load of gasoline and enough\nequipment to start an illicit still at Turn-again-arm.  Paul Kilbuck,\nafter nearly a year of abstinence, succumbed to his craving, and with\nSwimming Wolf, sought the cabin of the _Silver Fox_.  After two days of\nthe German's liquid hospitality, he was ready for any mad adventure.\nDoubtless the thought of Ellen and her family must have been with him\nduring the winter.  Perhaps he had some inchoate drunken plan of\nseeking her when he put to sea with the potvaliant captain of the\n_Silver Fox_; but six hours from the post he collapsed in a stupor on\nthe captain's bunk.\nTales of the North are replete with instances of the incredible\nrecklessness of men drunk on the pale liquor of that land--men who,\nsailing along the dangerous coast, lash the wheels of their vessels,\nand leaving all sail set, go below for a day's carousal; men who drain\nthe very liquid from the compass to satisfy their burning thirst when\nhootch is gone.  So it was no surprise to the women to learn that the\nstorm which swept the Island so soon after the departure of the three\nmen, had broken upon the _Silver Fox_ when all hands, except the\nfaithful Swimming Wolf, were too far gone in drink to man the craft.\nAs he talked, the Indian, with expressive eyes and hands, acted out\neach step of his story.  He told how the wind increased; how he lashed\nthe wheel and all alone tried to reef the bellying canvass, letting it\nfall as it would at last.  With a few words and many dramatic gestures,\nhe made known how the trader, roused from a two-day stupor by the\npitching of the vessel and the banging of the boom sticks, had\nstaggered up out of the cabin, and been struck by the heavily swinging\nboom of the mainsail.\nThe captain and the three sailors crawled to the deck soon after, where\nthe freshness of the rising gale undoubtedly cleared their brains\nsomewhat.  They tried to make things ship-shape to weather the storm.\nThe captain was just about to cut the tow-line that still bound the\ntrader's whaleboat to the stern of the _Silver Fox_, when suddenly\nvolumes of black smoke came pouring out of the cabin.\nSwimming Wolf was never able to give a white man's reason which would\nexplain the fire that started in the hold of the schooner where the\ngasoline was stored.  He swore it was the _kus-ta-ka_ who kindled the\nflame, the _kus-ta-ka_ who knocked the White Chief on the head and made\nhim fall \"all same dead.\"  That he finally got the trader into the\nwhaleboat and escaped the burning vessel while the crew departed in\ntheir own small boat was evident.  There was but one oar, and the craft\nwas blown hither and thither on the tossing sea at the wind's will.  In\nthe dawn of the third day Swimming Wolf had been able to beach it on\nthe rocky shore off which he found himself.\nThe Indian had no idea where he was landing, and when he saw the\nwhite-robed figures appear on the rickety porch of the cabin, it was\nnot surprising that he thought them ghosts.\nFurther questioning of Swimming Wolf revealed the fact that at\nKatleean, two drunken sailors had run the _Hoonah_ ashore in the lagoon\non one of the highest tides of the fall.  Though uninjured, it would\nhave required some work to get the little craft off again; so there,\nevidently, she had remained.\n\"But Swimming Wolf, why didn't the White Chief get another boat and\ncome with our provisions?  Why didn't the Indians come for us?  Didn't\nanyone care whether we starved or not?\"\nThe Wolf looked at Ellen with that stolid, blank expression an Indian\nassumes when he does not wish to be questioned.\n\"Me dun know.  Me dun know.\"  He shook his head.  \"Indian have no boat.\nKilbuck, he Big Chief.  He all time say: 'Mind you business or Indian\nget no grub.  Tomorrow I go.'  He all time say 'Tomorrow.'\"\nTomorrow!  From the lips of Kayak Bill who knew his Alaska, Ellen and\nJean knew what tragedies lie behind that word.  From waiting on wind\nand tide and the next steamer to go someplace, from waiting on summer\nor winter to do something, from waiting on an indifferent government to\nact on something, people of the North have found that Alaska has become\nessentially a Land of Tomorrow!  A month in Alaska becomes as a day in\nthe States.\nHumanity demanded that the two women do their best for the man who had\nbrought about their present perilous situation, though he had forfeited\nall claim to womanly sympathy.  Ellen could not bring herself to go\nnear the White Chief after he was placed in Kayak's bunk, but she\ndirected Swimming Wolf, who nursed and fed him.  At first Kilbuck lay\nin a stupor, but suddenly, at the end of twenty-four hours, he came out\nof his daze.  Jean, going into his room, encountered his narrow grey\neyes looking up at her with their normal expression.\nHe recovered quickly from the blow on the head, and on a diet of bread\nand broth rapidly regained his strength.  The women avoided him\nwhenever possible, but Loll, on whom once more they were dependent for\nsea-parrots, found time to sit beside him, asking about his friends at\nKatleean, and in turn telling the trader all his small affairs of the\nday.  As time went by he must have given the man a fair idea of the\nstruggle for existence during the winter on Kon Klayu.\nKilbuck, for the most part, was silent.  He made no effort to explain\nhis failure to keep his promises.  His strange, grey eyes, whenever it\nwas possible, followed the movements of Ellen and Jean.  Sometimes the\nwomen could hear him, indistinctly, questioning Lollie.\nThe fourth day Swimming Wolf assisted him to the porch where he sat\nlooking a long time at the sun-kissed sea.  The fifth day, with the\nIndian's help, he took a walk on the beach.  What he thought of the\nsituation Ellen and Jean had no means of knowing, but as they watched\nhim rapidly regaining his old arrogant manner, vague fears crept\ninsiduously into their minds.  At the end of the week he was issuing\nhis orders to Swimming Wolf with all the ease and certainty of one in\nsupreme command.\nOne afternoon Ellen sat on the porch trying to piece together the\nremnants of a little shirt for Loll.  Jean and the boy were off with\nSwimming Wolf gathering food.  The White Chief had gone to his room\nsome time before.  Ellen's heart was heavy with anxiety for her\nhusband.  If he were alive, he should by now have returned to her.  If\nhe were dead. . . .  For some minutes she was oblivious to all about\nher as she strove to thrust this thought from her mind.  The incipient\nmenace of the White Chief's presence hovered about her, though so far\nhe had never by word or look betrayed any sentimental interest in her\nsince his advent on the Island.  Perhaps by now, she told herself\nhopefully, time and his illness had changed him for the better.\nPerhaps----\nSomething caused her to turn her head toward the cabin door back of\nher.  Against the portal stood the White Chief.  His hand was hooked\nbeneath his scarlet belt in the old familiar manner.  His narrow, pale\neyes were fastened upon her in a way she had known in Katleean.  She\nfelt suddenly that he had taken in every detail of her appearance--her\nheavy braided hair, her worn and faded blouse, her short ragged skirt,\nand her feet incased in home-made moccasins of canvas.  She felt a rush\nof hot blood rising to her hair.  He noted it and smiled, his sardonic,\nthin-lipped smile.  The peculiar warmth that crept into his eyes caused\nEllen's heart to contract with a realization of appalling\npossibilities.  A small, inward panic took possession of her.\nShe rose abruptly and ran swiftly up the hillside trail to the Lookout.\nShe knew now that she was not dealing with a sick man.  She and her\nsister were practically at the mercy of Paul Kilbuck.\nShe resolved to keep her suspicions from Jean as long as possible, but\nthat evening as they were sitting together in the living-room, after\nLollie had climbed into bed, the girl kept glancing apprehensively\ntoward the closed door that shut off the sleeping place of the trader.\n\"Ellen,\" she said, hardly above a whisper.  \"I don't think he's as ill\nnow as he would have us believe.\"  She nodded toward the closed door.\n\"We ought to ask him to move over to the Hut with Swimming Wolf\nnow. . . .  Ellen--I'm growing dreadfully afraid of him. . . .  Oh!\"\nShe started nervously at a sound from the other room.\n\"I wish we had some way of locking that door.\"  In a low voice Ellen\nthus admitted her own uneasiness, while her gaze wandered about the\nroom.  \"We might put the table in front of it, and then if he did try\nto come through in the night, we would hear him.\"\nCautiously the two women lifted the table and placed the inadequate\nbarrier across the door.\n\"From now on, Jean, only one of us will sleep, while the other\nwatches--just to be ready, you know.  If he makes one suspicious\nmove--\" she broke off and patted almost lovingly the revolver she had\ndrawn from an inside pocket of her blouse.\nNoting the look of fear that had crept into Jean's eyes since her\nsuspicions had been confirmed, Ellen added: \"But it won't be much\nlonger, Jeanie, this waiting.  Surely Shane will come in a day or two.\nIt's nearly the twenty-first of June.\"\nThe twenty-first of June, the longest and most beautiful day of the\nyear in the North, was also the anniversary of Ellen's wedding.  Never\nduring the last ten years had Shane forgotten it.  Never had he failed\nto bring her some little surprise, to arrange some extra pleasure for\nher.  For the past two weeks this thought had been with Ellen\nconstantly, comforting her, promising her.  By some complex, womanish\nprocess she had come to believe that on the twenty-first of June Shane,\nif alive, _must_ come to her.  As she and Jean lay awake whispering\nduring the long, light nights, she had instilled some of her faith into\nthe girl's mind.  If they could but keep the trader from any untoward\naction until then, they both felt that all would be well.\nDuring the days that followed the sisters never left each other's side.\nSwimming Wolf and Lollie procured the food.  The Wolf chopped the wood\nand attended to other like duties about the cabin.  The White Chief did\nnothing, except lounge on Kayak's bunk.  In response to Ellen's\nsuggestion that he move to the Hut on the other side of the Island he\nhad merely looked into her eyes and smiled.\nSince recovering his strength he had begun to take long walks about the\nbeaches.  Ellen feared that sometime he might come upon their cavern\nand learn the secret of the gold of Kon Klayu, but Jean assured her\nthat there was no approach from either side of the precipice.  The only\nway to the cave lay by way of the cleft.\nAs time dragged on the strain of uncertainty became almost more than\nthe women could bear.  Sometimes as they sat about the table eating the\nwild food which was their only sustenance now, Ellen could hardly\ncontrol her impulse to hurl at the enigmatic man opposite her the\nquestions that rose to her lips.  Why was he so silent?  For what was\nhe waiting?  What did he think of their situation?  What did he mean to\ndo with them?\nShe realized that they could not go on indefinitely as they were now.\n_Something_ must happen to relieve the tension.  She had reached a\npoint where any word, any action that might give her a clew to the\ntrader's intentions, was welcome.  She began to long intensely that he\nmight do something which would give her an excuse to use the revolver\nshe carried constantly beneath her blouse.\nBut beyond looks and an occasional cryptic smile, he did nothing to\nalarm either of the women.  Yet his very silence and inaction were more\nominous than threats.  He instilled in them a crawling dread, a growing\nterror and uncertainty that was worse than anything they had hitherto\nknown.\nThe twenty-first of June dawned beautiful and clear.  It had been\nEllen's turn to watch all night and she was a-stir early, happier and\nmore cheerful than she had been for months.  Today--today Shane must\ncome.  She was sure he would come.  He had never failed her, She woke\nJean and Loll, and with that undying instinct which prompts every true\nwoman to make a feast for her returning man, Ellen prepared an extra\namount of the poor fare at her command: gumboot hash, boiled eggs and\nsea-parrot.\nShortly after the mid-day meal the White Chief, now fully recovered,\nwent off with Swimming Wolf in the direction of the south cliffs.\nEllen with her sister and Lollie climbed hopefully to the Lookout to\nbegin their watching.\nIn the bright sunshine the sea below heaved gently and stretched away\nto the horizon where, today, the dim outline of the amethyst range\nshowed.  Afar out the smoke of a west-bound steamer smudged the sky\nfaintly, lending a suggestion of human nearness to the scene that\ncheered the waiting ones.  Nearly three weeks had gone by since the men\nhad left the Island, and the weather, with the exception of the one\nstorm, had been calm.  Today, certainly, Shane would come--if he were\nalive.\nEagerly, hopefully they talked of his arrival as they sat scanning the\nocean toward Katleean.  The soft breeze died away.  The sea took on the\nsmooth shimmer of undulating satin.  From afternoon down to sunset the\nday grew in beauty.\nTime went by and the passing of each hour lessened somewhat the measure\nof their blind faith and hope.  Their talk became desultory.  The blue\nand silver of afternoon gave way to the blue and gold of approaching\nevening.  The tide came in and the amber sky took on the luminous tints\nof rose and jade, cobalt and orange.  The heaving, chameleon sea,\nunruffled by a breath of wind, gave back the colors quivering,\nburnished, opalescent, like the bowl of an abalone shell.  They, on the\nLookout, felt themselves alone inside the tinted bubble of the world.\nEllen's day was waning in an enthralling splendor that rendered the\nwatchers speechless; it numbed them by its exquisite beauty so\nincongruous with their own growing sense of hopelessness.  Ellen's day\nwas waning, and yet there was no sign of Shane.\nFrom the pole on the Lookout the home-made flag hung in pathetic\nbleached tatters, like lifeless grey hair down the back of an old\nwoman.  Beneath it, on driftwood left over from the signal fires, sat\nthe watchers.  A faint breath from the dead ashes mingled with the\nfreshness of the evening air and added an indefinable touch of\nloneliness.  Little Loll, tired out from his long, vain watching,\ncurled up against Ellen's knee and went to sleep.  Shags, dark and\nwitch-like against the glowing sky, flew in long, low lines toward the\ncliffs.  There was no sound except the eternal murmur of the surf.\nThe opal tints deepened, . . . then faded to a dull amethyst.  Just\nabove the line of the sea the blood-red sun stood out against the haze\nlike an immense weirdly-luminous balloon.  The women watched it\nsinking, . . . sinking.  It seemed pregnant with awesome, universal\nmysteries--this dully-growing crimson ball of the sun whose descent\nmarked the close of the day.\n\"Oh, Jeanie, Jeanie!\"  Suddenly the low cry quivered on the hush of the\nnight.  Ellen's brave spirit had succumbed at last to the awful,\nbeautiful, loneliness.  She sank her head on her sister's shoulder and\nclasping her arms about Jean, vainly tried to still the surge of grief\nthat shook her.\n\"Jeanie!\" she sobbed.  \"He's dead.  Shane--my husband--is dead!  If--if\nhe were living--he would have come--to me--today!\"\nThe tattered flag on the pole above stirred to an awakening\nbreeze. . . .  The midnight sun touched the rim of the sea, and\nlingered to kiss with blood-red lips the cruel waters that have taken\nmany men. . . .  Then it doubled back on its track and slowly,\nperceptibly, rose again, as if reluctant to lose sight of the lonely\nLookout where Lollie, fully awake now, was trying to gather two sobbing\nwomen into his thin, little-boy arms.\nCHAPTER XXXIII\nANCHORS WEIGHED\nAn hour later, Ellen, worn out by the vigil of the night before and the\nlong watching on the Lookout, lay on the blankets of her bed fully\ndressed.  Lollie slumbered beside her, his tumbled red head in the\ncrook of his arm.  It was Jean's night to watch, and she sat before the\ntable, the revolver ready to her hand.  Her shoulders drooped and her\neyes were heavy-lidded and swollen from weeping.  She rested her elbows\non the table and dropped her face in her hands.  Numbed by their grief\nand disappointment, both women for the time being had relaxed their\ncaution, and for the first time in days, the table had not been placed\nacross the closed door of the White Chief's room.\nFor an hour the girl sat immovable. . . .  Then she glanced up at the\nclock.  It had stopped.  Ellen had forgotten to wind it.  Jean wondered\ndully how they were now to tell the time.  There was no other timepiece\non the Island.  But time didn't matter.  Nothing mattered now.  She\ndropped her face again in her hands. . . .  Her head was very\nheavy. . . .  Her arms slipped slowly until they rested on the\ntable. . . .  Her head settled forward until it lay upon them. . . .\nThere came a long, tired sigh, and then the regular breathing of the\nsleeper. . . .\nThe sun of late morning was streaming in through the little north\nwindow when the door off the living-room softly opened.  The tall\nfigure of the White Chief stood a moment as he looked in at the quiet\nforms before him.  A gleam of triumph showed in his narrow eyes as they\ncame to rest on the pistol lying before the dark bowed head of the girl\nat the table.  His nostrils twitched and his lip lifted in his wolfish\nsmile.  He tip-toed cautiously until his avid hand closed on the weapon.\nIn the middle of the room he paused, and with an air of satisfaction\nturned it over and over in his hands.  There was a movement on the bed\nin the corner, and abruptly Ellen sat upright, her wide gaze on the man\nbefore her.\n\"Good morning!\"  He smiled at her derisively.  His instinct for\neffective poses asserting itself, he began showing off his aptitude\nwith the revolver.  He twirled it, with elaborate carelessness, on his\ntrigger finger, and with one movement of his wrist, stopped it, at the\nsame time drawing a bead on the shining gold-scales above the window.\n\"I've been trying to get my hands on this for days,\" he said\nconversationally, turning to her again.  \"Your aim is a little too sure\nfor me to take any chances.\"  He looked at the weapon in his hand.\n\"You know, my dear, I have never really believed in that popular\nfallacy concerning women and force--that a club and long hair go\ntogether.  Still, you never can tell. . . .  As a persuader this is a\nbit better than a club, but--\" he shrugged his shoulders\ncontemptuously, \"I'll not need it--here.\"  He extracted the three\ncartridges from the revolver and tossed it easily to the bed.\n\"Oh-o-o Ellen!\"  Jean's despairing voice struck through the room as she\nwoke and found the pistol gone.\nThe trader glanced from one to the other.  \"I am indeed a fortunate\nman,\" he laughed, \"to be cast upon an island with two charming women.\nSome might think it an embarrassment of riches--but I. . . .\"  He\nallowed a significant silence to sink in.\nEllen had risen from the bed and stood beside her sister, a hand\nresting protectingly on the girl's shoulder.  The White Chief crossed\nto the table and seated himself on the edge of it, one foot swinging\nfree.\n\"You're both going to think a lot of me before we're taken off Kon\nKlayu,\" he told them.  \"Oh, yes, we'll be taken off, my dears, but not\nby your husband, Mrs. Boreland.\"  He ignored Ellen's cry and proceeded:\n\"I was a little afraid the first week that he might, by sheer Irish\nluck, have escaped the storm and be turning up here--but it's too late\nnow.  I'll wager you're a widow.\"\nHe seemed to be enjoying himself immensely as his pale eyes lingered\nfirst on one and then on the other woman before him.\n\"The pale white rose, and the dewy red bud,\" his vibrant voice went on\nmockingly.  \"Oh, do not be alarmed--\" as they both shrank back--\"I'm\nnot going to be crude.  I have plenty of time--plenty of time--  Oh,\nyou would, would you!\"  He broke off with a sudden snarl, as Ellen,\ninfuriated by his manner, snatched up the empty revolver and hurled it\nwith all her strength at his head.\nHe dodged, and with one panther-like movement, leaped at her, his arms\nclosing like a vice about her shoulders.\nAs if maddened by her struggles he crushed her to him and pinioning her\nwrists in one powerful hand, he embedded the other in her loose hair\nand brutally drew her head back until her face was upturned to his.  A\nmoment he bent above her, crouching, feral, then he thrust his dark\nbearded face against hers and shut off her screams.\nAt the first intimation of the man's violence Jean had rushed to her\nsister's aid and was beating him with wildly impotent hands, calling\ndespairingly to Lollie, to Swimming Wolf, even to Gregg.  Then like a\nyoung tigress she sprang at him from behind trying to get a hold on his\nneck so that she might drag him from Ellen.\nBut the man was impervious to everything outside the circle of his arms.\n\"Oh, Swimming Wolf!  Oh, help!  Help us!\"  Jean's desperate screams\nrang out again as she heard the sound of hasty footsteps on the porch\noutside.\nShe leaped for the door, but before her hand touched the latch it was\nflung open and against the blinding sunshine loomed the tall figure of\nShane Boreland.\nWith one bound he crossed the living-room.  There came the sound of a\nblow, . . . struggling, . . . a sudden choked cry, and Shane's gasping\nwords:\n\"God . . . you cur . . . come . . . in the open . . . I'll kill you!\"\nTwo writhing, panting figures reeled about the living-room. . . .  They\nbroke. . . .  Shane, livid with rage, side-stepped, and with the\nagility of a wild-cat leaped again at his adversary.  His arm encircled\nand tightened about the trader's neck.  Kilbuck turned in the grip and\nchest to chest they swayed, strained, their tentative blows rendered\nimpotent by their very nearness to each other.  With twistings of legs\nand sudden saggings of bodies they sought to get each other prostrate.\nThe hot breath whistling from their gaping mouths made the only human\nsounds.  Wheeling, lurching they fought swiftly about the room,\nknocking over chairs, . . . the table . . . sweeping the stove from its\nfoundation.  Then Shane's ankle turned as his foot encountered the\nfallen revolver, and he lost his balance.\nIn that instant the trader had him down--was upon him, slugging\nviciously with both fists.  From the first there was no science in the\nfight.  Both men inflamed--one with a long-denied passion for revenge,\nthe other with hatred for one he had wronged, had reverted to the\nprimitive lust to gouge, to claw, to kill with bare hands.  They rolled\nabout the floor, first one on top, then the other, striking, tearing at\neach other's throats, their very blind fury defeating their\npurpose. . . .  Again a turn found them on their feet, and like\nsnarling beasts they bounded back to the attack.  Shirts were torn from\ntheir backs, warm, gummy blood on their sweating bared bodies rendered\ntheir grips insecure. . . .  After what seemed to the watchers a\nfrenzied eternity, their efforts began slowly to slacken.  Their grips\nbecame more feeble, their hoarse rasping gasps for breath more\nlabored. . . .  The Chief attempted groggily to dodge a blow.  Shane\nrecovered his balance, rushed him low, and closed.  A moment they\nswayed together, then slowly the trader was lifted off his feet; a\nsudden twist of Shane's shoulders, a heave, and the Chief was slammed\nagainst the edge of the overturned table, his arm striking heavily.\nEven as he went down Shane was on top of him, his hands fastened in a\ndeath grip about Kilbuck's throat.  The man's face began to turn\npurple, his pale narrow eyes widened slowly, horribly until they seemed\nstarting from the sockets.\nThen Jean screamed.\n\"Gregg!  Kayak!  Stop him!  Don't let him commit murder!\"\nThe sound of the girl's voice broke the spell that had bound the\nspectators standing in the doorway.  Kayak Bill and Harlan strode into\nthe cabin and between them tore Boreland from his enemy and placed him\non the bed in the corner, where Ellen and Lollie took charge of him.\nThe insensible White Chief was carried into the next room and put in\nKayak's bunk.  Breathing heavily from exertion Kayak Bill stepped back\nto look at him.\n\"That lyin' skunk's so crooked he cain't lay straight in bed, Gregg.  I\nwas honin' somethin' powerful to horn in on that little shindy--but I\nreckon Shane's bunged him up conside'ble,\" he drawled with immense\nsatisfaction, as he leaned over and felt the trader's arm.  \"'Pears\nlike he's got a busted flipper, and I know his noggin is sure addled.\nGet some water, Gregg.  I mout as well bring the durned squaw-pirate\nback to life, 'cause when he's well again, I aim to knock hell outen\nhim myself----\"\nKayak turned to find that his remarks had fallen on the empty air, for\nGregg and Jean, standing amid the ruins of the dish cupboard, were\noblivious to all the world except each other.  His hazel eyes roved to\nthe bed where Ellen and Loll were welcoming Shane as if he had returned\nfrom the dead.  Kayak stood a moment.\n\"'Pears like I'm playin' a lone hand here,\" he said wistfully as he\nstarted for the water that was to revive the White Chief.\n\"Oh, Kayak!  Kayak!\" came Lollie's shout as he burrowed out from\nbetween his parents.  \"It's your turn now to get some lovin'.  Wait a\nminute!\"  And the little fellow sprang from one end of the bed into\nKayak's arms.  A second later both Ellen and Jean were welcoming him\nwith a warmth of affection that sent his new sombrero flying and made\nhis old hair-seal waistcoat slip half-way off his shoulders.  Delighted\nbut unprepared for such demonstrations, Kayak was at a loss how to meet\nthem.  His cheeks turned fiery red, and though his eyes were glowing he\nbacked away the moment they released him and began earnestly to\nreadjust his worn waistcoat.\n\"By he--hen, Lady,\" he managed to say with some semblance of his old\nnonchalance, as he fumbled with a torn buttonhole.  \"I--I--\" he glared\naccusingly at the hair-seal garment, \"I believe this durned thing\nis--is--is a-sufferin' from poverty o' the buttons, or--or maybe\nenlargement o' the buttonholes!\"  And in the laughter that greeted his\nstatement he went off to care for the White Chief.\nJoy in the reunion and an hour's rest put Shane on his feet again.\nWhile the women gathered up their few belongings, they learned how the\nold whale-boat in which the men had left Kon Klayu had held together,\nseemingly by a miracle, during the first part of the storm, but later\nhad been driven out of its course.  When Shane finally landed at a\ncannery fifty miles from Katleean the boat was abandoned and they were\ntaken to the trading post in the canoes of some fishing Indians.  There\nthey learned of the White Chief's trip on the _Silver Fox_ and set\nabout getting the _Hoonah_ off the beach at the lagoon.  The tides of\nJune being higher than usual they had little trouble, but it took days\nto calk the seams and put the schooner in shape for the trip.\n\"We were within fifty miles of here yesterday when the wind died down,\nEl,\" Shane told his wife, \"and myself doing my best to make it on our\nwedding anniversary!  I knew you'd be expecting me, little fellow.\"  He\npatted her hand.  \"Well,\" he continued after some strictly personal\nremarks, \"I suppose we'll have to take Kilbuck to a doctor before we go\nto Katleean--damn him, I ought to kill him, though.  There's an M.D. at\nthe cannery this summer.  I want the blackguard fixed up so I can\nsettle with him later.\"  He drew a new corn cob from his pocket and\ncramming it with tobacco, lit it.  \"But I tell you, girls,\" he went on\nbetween puffs of the keenest enjoyment, \"Kayak and I had the biggest\nsurprise of our lives the day before we left Katleean!\"  He turned to\nGregg and made a ludicrous confidential attempt to wink a swollen eye.\n\"A cannery steamer put in and landed no less person than his royal\nnibs--the president of the Alaska Fur and Trading Company!\"\nThis announcement was received with no particular enthusiasm by either\nof his listeners.  He went on:\n\"We got close as paving bricks right off the reel, and he's going to\nfinance the mining of Kon Klayu!\"  He stopped to note the effect of\nthis statement.  \"We left him at the post looking into the business\nmethods of the White Chief.  The cannery steamer will be back in ten\ndays and we'll all strike out for San Francisco together and get our\noutfit.  We'll be back here at Kon Klayu this fall to begin\noperations.\"  There was a dismayed exclamation from Ellen; a delighted\none from Jean.  \"Oh, cheer up, El,\" he said to his wife.  \"You and I\nwon't have to come unless we want to.  We've already appointed the old\nman's son resident manager.  He wants the job--is crazy about it in\nfact.  Turn around girls, and I'll present him to you--Mr. Gregg\nHarlan, ladies!\"  With a grand flourish Shane indicated the flushing\nyoung man.  \"Why he chose to keep it a secret all these months, he\nhasn't told us yet, but--perhaps Jean will find out!\"  Laughing at the\nincredulous look on Ellen's face he limped out to the shed where Kayak\nBill was doing up samples of ore to take aboard the _Hoonah_ lying just\noff the bluff.\nAt midnight the schooner was rippling gently over the long swells into\nan atmosphere of golden sunset light that flooded the sky and crinkled\nalong the wavetops in shimmering, mellow orange.  Up in the bow of the\n_Hoonah_ silhouetted against the glow, old Kayak Bill stood alone.  In\nhis hazel eyes was the wistful look that crept there sometimes when he\nwatched the domestic happiness of those about him.  A-top the cabin by\nthe mainmast Jean and Gregg stood looking back over the lengthening\nstretch of water.  Kon Klayu lay, an oblong of jade in the amber light,\nringed with a wreath of foam.  A single gull winnowed across the vision\ncalling a wistful question, and from the Lookout the tattered flag\nflung itself out on the breeze as if in farewell.  Jean's happy voice\ncame to him from where she snuggled in the circle of Harlan's arm.\nKayak Bill let his gaze wander to the stern where Shane and Ellen stood\ntogether at the wheel: Despite Boreland's battered countenance his chin\nwas up in his old jaunty and debonaire manner.  The wind ruffled the\nhair on his bare head.  One hand managed the steering gear.  The other\narm lay across his wife's shoulders.\nKayak, watching shook his head gently.\n\"I always hearn tell,\" he spoke softly to himself, \"that the only\ndifference a-tween happy marriages and unhappy ones is that the happy\nones keeps their bickerin's private like--but I don't know, . . .  I\ndon't know . . .\"\nA moment more he looked at the prospector and his wife, then he turned\naway and his old eyes gazed out across the tinted ocean spaces to that\nsomething which had always seemed to beckon him from beyond the sunset\nglow.  Lost in his dreaming the old man did not hear Shane's eager\nvoice as he released the wheel a moment and pointed off the bow to\nwhere, beyond the rim of the sea, lay the northwest coast of Alaska.\n\"It's up there in the Valley of the Kuskokwim, El!  They've made a\nbrand new strike and are getting ten dollars to the pan!\"  He looked\ndown at her and went on in his most coaxing Irish way.  \"Darlin', when\nwe get Loll in school, and Jean and Gregg and Kayak safely settled on\nKon Klayu . . .\" he hesitated, then finished eagerly, \"Sure El, it\nwould do us the world of good to go up there, little fellow, . . . just\nto take a bit of a look. . . .\"  He straightened, his eyes alight with\nthe old questing expression, his face turned to the northwest, his\nspirit already faring forth across sea and land to the beckoning Valley\nof the Kuskokwim.", "source_dataset": "gutenberg", "source_dataset_detailed": "gutenberg -  Where the Sun Swings North\n"},
{"language": "eng", "scanningcenter": "capitolhill", "sponsor": "The Library of Congress", "contributor": "The Library of Congress", "date": "1939", "subject": ["Historic buildings -- Virginia -- Alexandria", "Alexandria (Va.) -- Guidebooks", "Alexandria (Va.) -- History"], "title": "Alexandria,", "creator": "Writers' program, Virginia. [from old catalog]", "lccn": "40003986", "collection": ["library_of_congress", "fedlink", "americana"], "shiptracking": "ST011238", "partner_shiptracking": "IAGC155", "call_number": "8782030", "identifier_bib": "00033871739", "lc_call_number": "F234.A3 W8", "possible-copyright-status": "The Library of Congress is unaware of any copyright restrictions for this item.", "note": "If you have a question or comment about this digitized item from the collections of the Library of Congress, please use the Library of Congress \u201cAsk a Librarian\u201d form: <a href=\"https://www.loc.gov/rr/askalib/ask-internetarchive.html\">https://www.loc.gov/rr/askalib/ask-internetarchive.html</a>", "publisher": "[Alexandria, Va., Willims printing co.]", "description": "27, [2] p. illus. 23 cm", "mediatype": "texts", "repub_state": "19", "page-progression": "lr", "publicdate": "2019-07-23 11:40:18", "updatedate": "2019-07-23 12:36:39", "updater": "associate-richard-greydanus@archive.org", "identifier": "alexandria00writ", "uploader": "associate-richard-greydanus@archive.org", "addeddate": "2019-07-23 12:36:41", "operator": "associate-annie-coates@archive.org", "tts_version": "2.1-final-2-gcbbe5f4", "camera": "Sony Alpha-A6300 (Control)", "scanner": "scribe1.capitolhill.archive.org", "imagecount": "38", "scandate": "20190725182514", "ppi": "300", "republisher_operator": "associate-hazel-tabanag@archive.org", "republisher_date": "20190730213927", "republisher_time": "209", "foldoutcount": "0", "identifier-access": "http://archive.org/details/alexandria00writ", "identifier-ark": "ark:/13960/t0bw58k53", "scanfee": "300;10.7;214", "invoice": "36", "openlibrary_edition": "OL22918258M", "openlibrary_work": "OL7009835W", "curation": "[curator]admin-andrea-mills@archive.org[/curator][date]20191011182613[/date][state]approved[/state][comment]invoice201908[/comment]", "sponsordate": "20190831", "additional-copyright-note": "No known restrictions; no copyright renewal found.", "external-identifier": "urn:oclc:record:1156224589", "backup_location": "ia906907_32", "ocr_module_version": "0.0.21", "ocr_converted": "abbyy-to-hocr 1.1.37", "page_number_confidence": "86", "page_number_module_version": "1.0.3", "creation_year": 1939, "content": "This guide to Alexandria is the first book on a Virginia city prepared by the Writers\u2019 Program of the Work Projects Administration. It is also the first Virginia contribution to the American Guide Series. The Virginia Guide and A History of the Negro in Virginia, soon to be published, were completed before the Alexandria book was begun.\n\nAlexandria, VA\n\nCompiled by workers of the Writers\u2019 Program of the Work Projects Administration in the state of Virginia.\nAmerican Guide Series\nFederal Works Agency\nJohn M. Carmody, Administrator, Work Projects Administration\nF. C. Harrington, Commissioner\nFlorence Kerr, Assistant Commissioner\nWilliam A. Smith, State Administrator\n\nSponsored by\nThe Young Women\u2019s Club of Alexandria\n\nCopyright 1939 by Young Women\u2019s Club of Alexandria\nWe are happy to strengthen the ties between the regained province and its state, which was never quite content to have Alexandria a part of the District of Columbia. We were inexplicably sad during the 'sixties when Alexandria was the capital of the \"Restored Government of Virginia.\" Writing this book has been a labor of love. The research was accomplished by several workers under the supervision of H. Ragland Eubank and John Sherwood Widdicombe. The architectural descriptions were written by Mr. Widdicombe. The book was cast into its final form by the state director, with Mr. Eubank and Mr. Widdicombe as consultants. Due to the vast amount of material about Alexandria, a highly selective method was used in its presentation. Perhaps later, we will be privileged to write more about the city in a longer book.\nAlexandria, rich in old charms, lies in orderly fashion on ground rising between marshes along the broad Potomac, about six miles south of Washington. Its riverfront is washed by tides - not brackish, yet high enough to produce extensive mud flats, over which the city is approached by causeways. The countryside, rolling from the river toward the Piedmont, is lovely in all seasons.\n\nPredominantly a city of wide tree-lined streets, Alexandria was laid out on a strictly gridiron plan. Many of the original brick sidewalks and sandstone curbings remain in the older streets. Cobbled alleys run between them.\n\nNovember 1, 1939. Eudora Ramsay Richardson, State Supervisor.\npoplar-lined brick walls. Brick is everywhere. Thickly set close to the side walks are Georgian or early Federal houses of brick, in various mellow shades of red, gray stucco, or white weatherboarding and frequently gay with bright-colored shutters. Attractive doorways abound. Many leading into the larger houses are classically framed with excellently-proportioned pediments, and others are recessed with delicate fanlights. Window openings are sharply accented by flat arches of chalk-white stone with heavy keys. A small, low entrance stoop is characteristic of smaller houses. Reached usually by a few stone steps parallel to the facade, or by a greater number descending sideways to the brick walk. Occasional and good examples of Greek Revival architecture provide the only formal porticoes in this city of \"town-houses.\"\nIn rear gardens, mimosas and arbors of grapes and wisteria give shade in sheltered courtyards or sunny gardens. Magnolias and tall box trees grow darkly here and there. Scores of houses, one to nearly two centuries old, look as though the families of their builders had cared for them continuously, painting and repairing whenever necessary \u2014 and indeed, in many cases, this is true.\n\nThe streets running east reach the river abruptly. The most attractive is the final block of Prince Street, sloping its cobbled way down between poplars and two actually \"picturesque\" rows of odd small houses \u2014 of red brick, painted brick, stucco, or white frame \u2014 appearing almost Mediterranean with doors and shutters bright green, red, blue, or yellow. The waterfront with wooden wharves is a reminder that Alexandria was once a thriving port city.\nAlexandria was a considerable port where ships sailed to Europe and the West Indies, loaded with grain, tobacco, and other produce, and returned with luxuries for the prosperous and lively townspeople. The old fish market, abandoned long ago, had once housed hucksters, tricksters, Punch and Judy shows, marketers, and fishermen. A few small eating places still retain some likeness to the jolly barrooms and taverns that once clustered around the port.\n\nIndustry is inconspicuously present in Alexandria, despite the second largest freight classification yards in America. The most important enterprises include two fertilizer plants, but the largest industry is a plant for the construction and repair of refrigerator cars. Smaller industries include shops connected to the railroads, chemical works, and others.\nThe city's industrial payroll exceeds $6,000,000 annually, employing approximately thirty-six hundred workers at an automobile assembly plant, iron works, foundries, a shirt factory, and brick and pottery works.\n\nHistorical Outline\n\nDespite unfriendly Indians delaying settlement of Virginia's uppermost tidewater fringe, Captain John Smith explored the Potomac River to its falls in 1608. Between the Chesapeake Bay and the falls, he discovered a strip of territory along the south shore called Chickawane by the occupying Indians. In 1645, the area became a part of Northumberland, the mother of many counties. Shortly thereafter, the Colonial government granted land to prospective settlers due to the unfriendly Dogue inhabitants in the vicinity of present-day Alexandria, and estates were not immediately settled.\nThe site of Alexandria was included in a patent issued by Governor William Berkeley in 1669 to Robert Howsing for \"six thousand acres of land situate lying and being upon the freshes of the Potomac River on the west side.\" That year, Charles II converted all of Northern Virginia into the Northern Neck Proprietary. The patent for land a few miles south of Howsing's estate, for which John Washington and Nicholas Spencer applied in 1669, was not granted until 1674 and then as the first proprietary patent issued by Thomas, Lord Culpeper, who had acquired control of the vast domain. John Alexander, who surveyed both grants, purchased the Howsing estate in 1670 and settled just north of the present city.\n\nBut life on the southern bank of the peaceful Potomac continued full of activity.\nThe Dogue Indians continued to be a problem, and the Susquehannocks, driven from the North by the Senecas, crossed the river and committed exasperating depredations. A campaign was conducted against the Indians along Piscataway Creek in Maryland in 1675, resulting in the annihilation of the troublesome Susquehannocks.\n\nColonel John Washington led Virginia troops, joining Maryland forces under Captain John Truman, determined to put an end to marauding. The Susquehannocks, infuriated because several Indians were murdered during a truce, evaded the militia and attacked Virginia's entire western frontier. Under the leadership of young Nathaniel Bacon, the Susquehannocks were routed, and permanent settlement was made possible in northern Virginia, though more than a score of years passed before this was achieved.\nThe Dogue were driven from the area. After the turn of the century, plantation life in old Chickawane began to assume the even tenor of its Colonial way. Comfortable homes were built, and acres were profitably planted in tobacco, which was rolled in great hogsheads toward the river along ancient Indian trails converted quickly into \"rolling roads.\"\n\nThomas Pearson, who acquired part of the Alexander tract north of Great Hunting Creek and called his estate Pearson's Island, was among the first to settle where Alexandria now stands. In this northernmost section of Virginia, as elsewhere throughout the colony, no town came immediately into being. In 1730, however, the General Assembly directed that a warehouse be established south of Hunting Creek \"upon Broadwater\u2019s land.\" The site having been found unsuitable, in 1732, \"a rolling house\" that had been built there was instead used as a temporary marketplace.\nThe \"Hunting Creek Warehouse,\" built on Simon Pearson's land on the upper side of Great Hunting Creek, was accounted a public warehouse. In 1740, a public ferry, a link in the King's Highway, the north-south thoroughfare, was established from the plantation of John Hareford in Doeg's Neck ... to Prince George County in Maryland, and from Hunting Creek warehouse, on Hugh West's land ... to Frazier's Point in Maryland. Though other warehouses were authorized on Pohick, Occoquan, and Quantico creeks to the south and on the land of the Honorable Thomas Lee, Esquire, at the Falls of the Potowmack, by 1742 \u2013 when Fairfax County was formed from Prince William \u2013 Hunting Creek Warehouse held a position of first importance as a place for the inspection, storage, and shipment of tobacco.\n\nThe town of Alexandria, named in honor of the pioneer John Alexander,\nThe General Assembly authorized the creation of a town at Hunting Creek Warehouse in 1748. Recognizing that a town there would be beneficial for trade and navigation, and would ease and advantage frontier inhabitants, sixty acres of land belonging to Philip Alexander, John Alexander, and Hugh West \"on the south side of the Potomac river\" were directed to be laid out as a town for Fairfax County. Members of the self-perpetuating board of trustees included Thomas, Lord Fairfax, William Fairfax, George William Fairfax, and Lawrence Washington \u2013 George Washington\u2019s half-brother. The county surveyor, John West, was instructed to begin the boundaries \"above the warehouse\" and extend the line \"down the meanders\" of the river to a specified point and thence \"back into the woods.\"\nThe following year, West began the work with the assistance of a seventeen-year-old George Washington. Thirty-one of the eighty-four half-acre lots, which had been plotted, were sold at auction for an average of nineteen and a half pistoles each. A pistole was equivalent to approximately four dollars. Among the purchasers were George Washington\u2019s half-brothers, Lawrence and Augustine Washington, and several Scottish immigrants who later became Alexandria\u2019s leading merchants \u2013 among them John Carlyle, John Dalton, and William Ramsay. Two lots, however, were reserved for the market square. Though the town was formally named Alexandria, it was colloquially known as Belhaven for several years. In 1754, the seat of Fairfax County was established here. Soon, Alexandria, favorably situated with respect to trade, outstripped its rivals \u2013 Dumfries in particular.\nPrince William County on Quantico Creek, and Colchester on the Occoquan River, both authorized in 1748 and 1752 respectively. By 1762, all lots in Alexandria were \"already built upon, except those situated in a low wet marsh.\" Due to \"divers traders and others\" seeking sites for homes and business establishments, two new streets were added to the ten originally surveyed by West and Washington. Alexandria's early industrial prosperity came from commerce and was soon exporting not only tobacco but quantities of wheat to the West Indies and England. Flour was being shipped from Virginia as early as 1748, as attested by a law passed that year charging inspectors with the duty of seeing that flour \"intended to be exported, or sold for exportation, is properly inspected and stamped.\"\nThe flour, clean and pure, not mixed with meal of Indian corn, pease, or any other grain or pulse. Flour mills, established on the nearby streams, enabled Virginia to free itself from dependence on Maryland and Pennsylvania millers and helped Alexandria achieve a prosperity that brought about many a gracious town house still surviving. In 1781, Alexandria was first on Virginia\u2019s flour inspection list. Tobacco kept pace with wheat. The first warehouses proving of inadequate capacity, another was erected in 1764 at Point Lumley. Important among the new wharves that were soon needed was the one built in 1759 by the partners, Carlyle and Dalton. From the back country, great caravans of covered wagons lumbered in, laden with wheat and other cereals, and returned with merchandise from abroad. Accordingly, in 1772, the General Assembly passed an act requiring\nThe counties of Fairfax, Loudoun, Berkeley, and Frederick laid a special levy on tithables to keep in repair the \"great and direct roads leading from Vestal\u2019s and William\u2019s gaps\" to Alexandria and Colchester. The roads from the northwestern parts of the colony were rendered almost impassable by the great number of wagons using them. Travelers who came along these roads to buy or sell or merely visit were entertained in homes or by hosts of the many taverns that were run for profit and pleasure. At City Tavern (later Gadsby\u2019s), the Royal George, and the Rainbow Inn, citizens and guests drank to the health of loyalist or rebel, swapped merry yarns, and discussed both politics and prices. A legislative enactment of 1752 provided that fairs be held at Alexandria each May.\nAnd in October, \"for the sale and vending of all manner of cattle, victuals, provisions, goods, wares, and merchandise whatsoever.\" For five days twice a year, all criminals except murderers had need to fear only the punishment inflicted by their own consciences. The kindly General Assembly enacted that \"persons coming to, being at, or going from the same, together with their cattle, goods, wares, and merchandise, shall be exempt and privileged from all arrests, attachments, and executions whatsoever, except for capital offenses, breaches of the peace, or for any controversies, suits, and quarrels that may arise and happen during the said time.\"\n\nVery early in its career, Alexandria played a conspicuous part in epoch-making events. Here it was that George Washington recruited his first command \u2013 150 troops whom he drilled in Market Square before leading them.\nIn 1754, against the French, \"unjust invaders of His Majesty\u2019s lands in Ohio.\u201d In 1755, the governors of Massachusetts, New York, Pennsylvania, and Maryland conferred with British general Edward Braddock regarding the proposed campaign against the French posts on the Ohio. From Alexandria, General Braddock started on his ill-fated journey westward. Attached to his staff was young Colonel Washington, who assumed command of the British and Colonial forces after the death of the general. Times were increasingly troublous in His Majesty\u2019s oldest colony. The same Virginia that had fought for representative government under the rule of the London Company, that had dared in 1635 to \"thrust out\" a royal governor because he refused to listen to the mandates of the people, that had rallied under the banner of America\u2019s first rebel, young Nathaniel Bacon.\nwas leading the colonies in protesting the high-handed methods of an English king. In 1759, the General Assembly appointed a committee of correspondence, which passed on to England the revolutionary thinking of the colonists. In 1763, at Hanover Courthouse, much south of Alexandria but spiritually near, a fiery chap by the name of Patrick Henry, defending the people against the claims of a privileged clergy, hurled blasphemy toward the sacred Crown. Two years later, under the spell cast by the same young man\u2019s oratory, the General Assembly adopted resolutions against the hated Stamp Act. Alexandria listened and applauded. In 1774, when the revolutionary pot was boiling fast and furiously, citizens of Fairfax County assembled at a meeting, over which George Washington presided, and adopted the celebrated Fairfax Resolves.\nResolves drawn up by George Mason from Gunston Hall nearby, declaring against taxation without representation, favoring a uniform plan of defense, urging that every \"little jarring dispute between these colonies should be buried in eternal oblivion,\" sanctioning the non-importation agreement, opposing the slave trade, and commissioning George Washington and Charles Broadwater to present to the \"Convention at Williamsburg on the first day of August next . . . these resolves as the sense of the people of this country.\"\n\nWhen revolution came at last, Alexandria furnished the great military leader, George Washington, whose country home was nearby and who maintained a house within the town.\n\nIn 1779, Alexandria was incorporated as a town. Its territory having been extended westward to include the present Washington Street, and forthwith.\nIn 1785, Alexandria elected its first mayor, Robert T. Hooe. After the Revolution, the citizens turned to profitable enterprise and cultural advancement. The town's limits were extended \u2013 southward to Hunting Creek; westward one mile west of the Courthouse on Market Square; and on the north to Four Mile Run. That year, the General Assembly passed a special act providing for the paving of Alexandria\u2019s principal street. The cobblestones, then laid, were taken up a century later and converted into the bases of monuments and markers. The workmen were Hessian prisoners, whose labor was procured by Dr. William Brown, one of the first surgeons general of the Revolutionary Army and compiler during the war of the first American Pharmacopoeia for Use of Army Hospitals. Other important happenings followed in quick succession. In 1783, a Masonic lodge was established.\norganized;  in  1784  the  Alexandria  Gazette  was  started,  now  the  oldest  daily \nnewspaper  of  continuous  existence  in  the  United  States;  and  in  1785  an \nacademy  was  founded,  to  which  George  Washington  made  annual  gifts. \nIn  Alexandria  in  1785  took  place  the  epochal  meeting  between  commissioners \nfrom  Maryland  and  Virginia,  which  continued  its  sessions  at  Mount  Vernon \nand  led  to  the  Annapolis  Convention  of  1786  and  to  the  Constitutional  Con\u00ac \nvention  in  Philadelphia  the  next  year. \nThough  Alexandria  was  prosperous  in  1790,  its  inhabitants  numbered \nbut  2,748.  The  year  before,  moreover,  Virginia  had  given  it  away  as  part  of \nthe  territory,  ceded  along  with  Maryland\u2019s  gift,  to  form  the  District  of \nColumbia.  Its  stable  population  must  have  been  daily  augmented  by  visitors, \nfor  one  of  its  new  taverns \u2014 the  Washington  at  the  intersection  of  Washing\u00ac \nton and King Streets \u2014 advertised \"stabling for a hundred horses,\" and another \u2014 the Red Lion at the corner of King and St. Asaph Streets \u2014 offered \"fine carriages, handsome horses and careful drivers\" as inducements to attract \"genteel boarders.\"\n\nDuring the first ten years of exile from Virginia, however, the town almost doubled in size. Apparentely, Alexandria was content at first to belong only to the United States. In 1791, the District of Columbia was laid off \u2014 a hundred square miles, the gift of Maryland and Virginia. With fitting Masonic rites, its southern corner was marked by a stone, which still may be seen at Jones\u2019 Point. The versatile Dr. Elisha Cullen Dick, consulting physician during Washington\u2019s last illness and painter of two portraits of Washington, presided over the ceremonies. Dr. Dick\u2019s friend,\nThe new President of the United States was away on a grand tour of the Southern states. The Maryland side of the Potomac was chosen for the location of the capital. President Washington, having been authorized by Congress to select the exact site, feared being accused of attempting to boost the value of his own property. As part of the District, Alexandria enjoyed a mild boom, with no immediate unpleasant aftermath. Government officials came to live within its corporate limits and built fine homes. On November 23, 1792, the Bank of Alexandria became the first in Virginia, antedating the Bank of Richmond by exactly thirty days. The population and prosperity graphs continued their upward trend, and Alexandria came unscathed through the War of 1812.\nby permitting the invaders to help themselves to supplies, nostalgia for the Old Dominion was soon translated into efforts to achieve retrocession of the Virginia part of the District. The movement was temporarily quashed, however, when a few residents met and resolved \"That a cession of the people and territory of Alexandria county to the state of Virginia would be injurious to their prosperity and ought not to be made.\" Likewise, in 1824\u2014the year that Alexandria had its most disastrous fire\u2014a referendum resulted in a victory for the opponents of retrocession. In 1846, however, a second referendum showed how completely sentiment had changed, as the people voted in overwhelming majority to be returned to Virginia. In the words of R. M. T. Hunter before the House of Representatives, the ceded territory\narea  had  \"been  treated  like  a  child  separated  from  the  natural,  and  neglected \nby,  the  foster  mother.\u201d  In  1847  the  General  Assembly  received  its  own \nonce  again,  constituted  Alexandria  County,  and  made  the  town  its  seat. \nMeanwhile,  Alexandria  had  become  somewhat  an  educational  center. \nIn  1823  the  Virginia  Episcopal  Theological  Seminary  was  founded  nearby. \nIn  1825  a  school  was  begun  by  Benjamin  Hallowell,  a  Quaker  active  not  only \nin  opposing  slavery  but  in  founding  a  lyceum  for  the  promotion  of  intellect\u00ac \nual  pursuits.  In  1839  the  Episcopal  High  School  had  been  established  on \nproperty  adjoining  the  seminary. \nA  bigger  and  better  era  dawned  immediately  after  retrocession.  In \n1852  Alexandria  acquired  the  status  of  city  and,  like  all  other  cities  in \nVirginia,  became  politically  independent  of  its  county.  Two  years  later  the \nThe Orange and Alexandria Railroad opened from Alexandria to Gordonsville, where connection was made with the Virginia Central and the eastern base of the Blue Ridge. In 1860, the population of the city was 12,652. The preceding year, when U.S. troops commanded by Colonel Robert E. Lee had gone from Alexandria to Harpers Ferry to quell John Brown's raid, citizens must have sensed that, should sectional difficulties result in war, the situation of Alexandria would be precarious\u2014it was close to the national capital. In April, 1861, Robert E. Lee, leaving the community to assume command of Virginia forces, was followed by many Alexandrians. However, at the beginning of the war, the city was again severed from Virginia and remained in Federal hands until after the defeat of the Confederacy. On August 26, 1863, after West Virginia had been admitted to the Union.\nFormed and admitted into the Union with Wheeling as its capital, Alexandria was made the capital of the \"Restored Government of Virginia.\" Alexandria's second exile had compensatory features, as the city escaped the destruction that the rest of Virginia suffered and was spared the horrors of Reconstruction. However, several decades of depression followed the war. The Baltimore and Ohio Railway had diverted the coal trade from Alexandria. Baltimore, with its fleet of clipper ships, waxed while the older city waned. But Alexandria was awaiting a rejuvenation it could not foresee. Good roads and the automobile brought Washington nearer. Americans, having lived through the eras of Victorian atrocities and the bungalow, were again looking with favor upon Colonial and Early Republican architecture. During the World War, Washington's new officialdom discovered Alexandria.\nNo wanton prosperity had caused old houses to be destroyed; no industrial boom had marred the pleasant antiquity of the little city on the Potomac. Here was offered escape after work days in the nation\u2019s capital; and here was a haven for the retired government official and army officer. Gracious City Hall and Market House, Alexandria- Washington Lodge Room, mansions and small town houses that had been built in a less hurried age by people of good taste were restored one by one, and new homes were patterned after them. Alexandria lives again, fresh paint upon shutters and beautiful doors, brass knockers shining in the sun, old walnut and mahogany furnishings within the homes, its few scarcely beautiful \"flounder-type\u201d houses allowed to remain because they are quaint and peculiarly Alexandrian.\nThe old families and the Foreign Legion, referred to as newcomers, comprise the population of a city that is still entirely Virginian.\n\nPoints of Interest\n1. The CITY HALL and MARKET HOUSE, located on the S. side of Cameron St. between Royal and Fairfax Sts., occupy half a city block. This red brick structure with white trim, modeled after eighteenth-century styles, features a tall spire on one facade and a section beneath a vast mansard roof on another, centered between corner pavilions. An acre here was set aside for a market place when the town was founded in 1749. After Alexandria became the seat of Fairfax County, a courthouse (1752-54) was erected on it. Around the same time, a market house was built, the ground floor of which was occupied by the town's first school.\nIn 1782, after the town had been incorporated, a large brick town hall was built on a massive arcade in the northwest corner of this square. Extensive additions were made in 1817 and served until the whole structure burned in 1871. The present building arose two years later. When the District of Columbia, including Alexandria, was laid out in 1791, the courthouse was pulled down and the clerk was given \"leave to use the rooms lately occupied by the Alexandria School as an office for the county records and . . . title to the bricks of the County Court House.\u201d The county office remained in the school rooms until 1801, when Congress assumed jurisdiction over the District and the county seat was moved to Providence (now Fairfax). From 1847 to 1898, Alexandria was the seat of the new Alexandria County, renamed Arlington in 1920. A public market was also located here.\nThe Alexandria-Washington Lodge of Masons has been held regularly on this square since the Alexandria fairs \u2014 special occasions for trading \u2014 were established in 1752. The Alexandria-Washington Lodge occupies the mansard-roofed section of the building on Cameron Street. This lodge was chartered in 1783 as Lodge Number 29 by the Grand Lodge of Philadelphia in the State of Pennsylvania. Its present charter was granted in 1788 by Governor Edmund Randolph, Grand Master of the Most Ancient and Honorable Society of Freemasons in Virginia, and George Washington, Esquire, late Commander in Chief of the American forces, and all other brethren as may be admitted to associate with the officers of the fraternity chosen to be a just, true and regular Lodge of Freemasons by the name, title and designation of the Alexandria Lodge Number 22. In 1805, after Washington's departure.\nAfter Randolph's death, as Grand Master, he issued an order permitting the organization to be designated Alexandria-Washington Lodge Number 22. Meetings were first held at Lamb's Tavern, which stood on Union Street between Prince and Duke Streets, and after Lamb's burned, at other taverns until a Masonic hall was erected on the present site in 1802. The Lodge participated in ceremonies at the laying of the cornerstone of the Alexandria Academy in 1785; when the stone marking the southeast corner of the District of Columbia was laid in 1791; and on September 18, 1793 at the laying of the cornerstone of the Federal Capitol. On the latter occasion, Dr. Elisha Cullen Dick, Worshipful Master, invited Washington, then President of the United States and past Worshipful Master, to conduct the ceremony.\nThe inscribed silver plate stating that this lodge was present at the ceremony for the cornerstone is at the museum (open 9-5 weekdays; adm. 10c). The two charters of the lodge, the silver trowel used by Washington in laying the cornerstone of the Capitol, the high-backed, leather-covered chair he presented and used as Worshipful Master, his personal Masonic relics, the clock from Mount Vernon stopped at the moment of Washington's death with its hands still pointing to twenty minutes past ten, several portraits including two of Washington (an oil by C.P. Polk and a pastel done by William Williams of Philadelphia in 1794, valued highly as the truest likeness of Washington), an oil of Lafayette at twenty-seven by Charles Willson Peale, and a distinguished one of Thomas, sixth [unknown name] are included in the museum exhibits.\nLord Fairfax, by Sir Joshua Reynolds, and two steel engravings: one of Washington by G. W. Ladd and another of Louis XVI. The LEAD WEIGHTS AND BRASS MEASURES displayed at the entrance to the lodge rooms are believed to be the only complete set of early English standards in the United States. Each is inscribed \"The County of Fairfax 1744.\"\n\n2. Gadsby\u2019s Tavern (open 9-5 weekdays, 2-5 Sun.; adm. 25c), 132 N. Royal St., embraces two brick buildings with a courtyard in the rear. The smaller is the older and more handsome. Its two-story facade in neat Flemish bond is cut across by a light stone string-course and broken up by nine rather small windows with heavy flat arches of stone. A refined cornice, with fretwork along the lowest molding and modillions, underscores a gable-roof.\nThe building is pierced by three widely spaced dormers, gabled and accentuated by heavy keystones. The centered doorway is framed in wood: fluted pilasters supporting a hollow pediment above an emphasized keystone set in the round arch of the transom window. This nicely proportioned entry and the closely spaced windows with large keys in their wing-like flat arches are typical of architectural design in Alexandria during the latter half of the eighteenth century.\n\nOn the corner of the block next to the older building is the tall, plain annex with three and a half stories beneath its steep gable-roof and with flat brick arches above its windows. The off-center entrance has been remodeled in Victorian style.\n\nAfter years of neglect, both buildings \u2014 like the courtyard, where an eighteenth-century coach seems again to await horses \u2014 are being restored.\nThe fine paneling in the ball room in the corner structure is now at the Metropolitan Museum of Art in New York City, but the interiors are still distinguished by the extent and quality of their carved woodwork. Noteworthy are several mantelpieces with trim moldings, broken pediments, and graceful supporting consoles. Among the rooms already restored are the ancient bar and the kitchen, where a very complete set of appropriate Colonial utensils is on exhibit. Many pieces of late Georgian furniture have been assembled in the tavern.\n\nThe original structure, long known as City Tavern, was built in 1752. Here, George Washington had his headquarters in 1754 while he assembled and drilled his first command at the beginning of the French and Indian War. The next year, General Braddock made this tavern his headquarters.\nIn 1788, when news arrived that New Hampshire and Virginia had ratified the Constitution, the citizens of Alexandria, who were Federal to a man, determined to devote the day to festivity. Washington wrote, \"No sooner had the citizens of Alexandria received the intelligence . . . than they convened the first public assembly in America which had the pleasure of pouring a libation to the prosperity of the General Government. I have just returned from assisting at the entertainment held at the City Tavern.\"\n\nJohn Wise bought the tavern in 1792, built the larger annex, and hung out his shingle proclaiming: \"The New City Hotel, at the Sign of the Bunch of Grapes.\" Two years later, he was succeeded by John Gadsby, who presided there until 1818 and achieved a great reputation as host.\nRobert Sutcliff, the English Quaker, wrote while traveling: The Inn I slept at is kept by an Englishman named Gadsley (sic), and is conducted in a manner much superior to most inns in this country, or many in England.\n\nBut John Davis, another English traveler, paid the highest of many compliments Gadsby received in its heyday when he wrote, \"Gadsby keeps the best house of entertainment in America.\" It was Gadsby's grandson, John Gadsby Chapman, born in Alexandria in 1808, who painted the \"Baptism of Pocahontas,\" which hangs in the rotunda of the national Capitol.\n\nHere, Washington attended celebrations of his last two birthdays, on February 12, 1798, and on February 11, 1799. His friends \u2013 always observing his birthday according to the old calendar \u2013 held the celebration on the 12th in 1798 because the 11th fell on Sunday. One day during the year.\nBefore his death, orphans from the school he sponsored gathered at Gadsby's before walking in procession to the Alexandria Academy for a \"hand out\" of clothes he provided. It was at Gadsby's that the Alexandria-Washington Lodge of Masons entertained Lafayette in 1824.\n\nThe ANNE LEE MEMORIAL HOME FOR THE AGED, NE. corner Fairfax and Cameron Sts., a four-story block of painted brick, stands on a lot purchased in 1749 by John Dalton, Carlyle's partner, and occupies the site of two houses \u2014 one built by Dalton and another on the corner by his son-in-law, Thomas Herbert, who ran it as a tavern. At different times later, both George Leigh and John Wise were hosts here. The Herbert House, as it was originally called, was also known as The Bunch of Grapes. Here, on April 16, 1789, George Washington visited.\nThe way to New York for the first inauguration was toasted and publicly addressed for the first time as \"Mr. President\" by Colonel Dennis Ramsay, Alexandria's mayor. If ghosts from these merrier times still walk, they perhaps brighten discreetly rather than frighten the ladies who are now cared for here.\n\nThe Bank of Alexandria Building (private), SE corner Fairfax and Cameron Sts., is now incorporated in a large brick building erected in 1856. Original iron bars are in place across several windows of the present basement. Here the old vault is concealed by a wooden door and protected by a heavy studded iron inner door and thick brick walls.\n\nThe Bank of Alexandria, chartered November 23, 1792, was the first to be authorized in Virginia. William Herbert, who married Sarah Carlyle, established it.\nThe Carlyle House was inherited and the town's Mayor (1808-10), as well as the bank's first president. Other incorporators included Robert T. Hooe, Alexandria's first mayor; Charles Lee, brother of \"Light Horse Harry\" Lee and later second Attorney General of the United States; and the Lees' brother-in-law, Philip R. Fendall. Washington was an original stockholder and a depositor. The large structure incorporating the little bank building, now an apartment house, was built as a hotel. Acquired in 1861 by a Mr. Green, it was called Green's Mansion House. In 1883, when it had become the Braddock House, it was advertised as the largest and only first-class Hotel in the City and falsely described as connected with an old Colonial Stone house built in 1752 of material brought from Europe.\n\nCarlyle House (open 9-5 weekdays; adm. $0.15), 121 N. Fairfax Street.\nA large stuccoed brick building stands on a stone platform, with an extended balustraded terrace on the east side overlooking the river. The two-story house features dark stone quoining that ascends to the eaves of a steep hip roof, from which dormers protrude. The simple design is evident in the window enframements throughout. The front entrance on the west facade is framed in gray stone at the head of a long flight of stone steps and is imposing, with an elliptical fan-light and the keystone in the round arch above inscribed with the Carlyle family motto: \"Humilitate.\" A wide porch on the terrace side, added long after the house was built, and other modifications have not improved the once dignified exterior, and the house is now closely hemmed-in by commercial structures.\nThe buildings surround it on all sides. The Carlyle House. The fully paneled interior is still distinguished by excellent carved woodwork, particularly several mantelpieces and doorways. From the wide hall, which lacks the usual cornice, the stairway climbs in a continuous curve. The Blue Room, still painted Colonial blue, has over both doors pediments broken into sweeping scrolls, an elegant fireplace with pale blue marble facing and pilasters, which frame a molded panel above a shallow mantel, a low dado with Greek-key molding, a deep cornice with modillions and rosettes, and a graceful crystal chandelier. In the basement are dungeon-like cells that are attributed to an early fort but are much more likely spaces in which the builder \u2013 the town\u2019s leading merchant \u2013 stored wines and other wares. A museum since 1914, the house contains a good collection of eighteenth-century furnishings and decorative arts.\n18th-century American furniture. The house was built in 1752 by John Carlyle, a native of Dumfrieshire, Scotland, who had come to Virginia in 1740. After helping to start the town of Dumfries to the southward, he helped to found Alexandria. It was not long before this thrifty merchant could afford to shelter himself comfortably. In April, 1755, he offered his new house to General Braddock, Commodore Keppel, and the governors for the conference they held in Alexandria to plan the campaign against the French and Indians. Colonel Washington, whom Braddock had invited to be a member of his staff, was present at the conference. The Blue Room, where the meeting took place, was the scene of social gatherings attended by such notables as George Mason, Thomas Jefferson, Lafayette, Aaron Burr, and John Marshall.\nColonel John Carlyle was commissioned in 1754 as commissary of Virginia forces and in 1758 succeeded his father-in-law, Colonel William Fairfax, as collector of His Majesty\u2019s revenues for the \"South Potomac.\" In 1773, he completed the building of Christ Church and began construction of the town's first Presbyterian church.\n\nThe Ramsay House (open daily), NE. corner King and Fairfax Streets, is the oldest house in Alexandria. It is a brick building, two-and-a-half stories high, with part of its walls covered with clapboard and part with flush boarding. Its roof is curbed on the front with three nearly flush dormers and slopes away in a broad half-gable to the rear.\n\nThe house was built in 1749-51 on one of the town\u2019s original lots \u2014 No. 47 \u2014 by William Ramsay, a native of Scotland, who settled here with other Scots: John Carlyle, John Dalton, and John Pagan \u2014 all among the town\u2019s founders.\nWilliam Ramsay was Alexandria's first postmaster in 1770. At the first election of \"Lord Mayor, Aldermen and Council\" in 1780, Mr. William Ramsay, the first projector and founder of this promising city, was invested with a gold chain and medal. His son, Dennis Ramsay, born here in 1756, served as colonel in the Continental Army and delivered the town's address to Washington when he stopped in Alexandria on his way to New York for his inauguration in April, 1789. Colonel Dennis Ramsay participated in the Masonic ceremony at Washington's funeral in 1799 and was one of the pallbearers.\n\nThe Alexandria Gazette Building, 317 King St., is a modern three-story structure of stone and is the home of the oldest daily newspaper in the United States. The Alexandria Gazette was founded on another site.\nThe Virginia Journal and Alexandria Advertiser was published for the first time in 1784 by George Richards SC Company. It reported on the meeting of delegates from Virginia and Maryland at Alexandria and Mount Vernon, which led to the Philadelphia Convention of 1787. In its second year, it covered Washington's election and gave an account of his triumphal procession from Mount Vernon to New York, where girls strewed flowers in his path. Other papers were started under various names, but they were all consolidated as the Alexandria Gazette and Virginia Advertiser, which eventually became the Alexandria Gazette that survives today. By 1800, around the time consolidation was effected, Samuel Snowden had acquired control of the papers, and it continued under his editorship and that of his son.\nThe family owned the paper until 1911, when they sold it. The files, kept here in steel cabinets, are unbroken except for a few early issues and those from the 1860s. Due to the Gazette's anti-Union sentiment, Federal authorities suppressed its publication during this period. However, the editor continued with a one-page sheet called Local News. In 1862, Local News gave an account of the scene in St. Paul's Church, where Federal soldiers dragged the rector from the pulpit to the provost marshal's office for his failure to include in the service the prayer for the President of the United States. The following night, Federal soldiers burned the paper's building and plant. But the Gazette moved to other quarters and published a small double-sheet.\n\nStabler-Leadbetter's Apothecary (open 10-4:30 weekdays, admission free), 107 S. Fairfax St., is one of the oldest drug stores in America.\nThe business, founded by Quaker Edward Stabler from Petersburg, Virginia in 1792, operated until 1933 and is now restored by the American Pharmaceutical Association. It is located on the ground floor of a three-story brick building and features two small bay windows on the street. Original equipment includes flint glass bottles, mortars with pestles, measures, scales, weights, and thermometers. Old account books and prescription files are preserved. The account books show that the Washington, Lee, and Fairfax families purchased drugs here.\nNotables such as Henry Clay, Daniel Webster, and John C. Calhoun wrote by it. A note from Martha Washington is in the files, as well as one from Nellie Custis (Mrs. Lawrence Lewis), which reads: \"Mr. Stabler will oblige Mrs. Lewis by sending 2 ozs borax, 2 boxes of Lee's pills, 2 boxes such pills as Mrs. Robinson uses, prepared by Mr. Stabler.\" Robert E. Lee was in this store on October 17, 1859 when Lieutenant J. E. B. Stuart delivered to him orders from the War Department to proceed to Harpers Ferry to suppress John Brown\u2019s insurrection.\n\nThe Old Presbyterian Meeting House (open 9:30-5 daily, April to Oct., admission 10c), 321 S. Fairfax St., is a large, rather austere hall of red brick with a broad gable-roof and two tiers of tall windows. A square tower built out at the west end is topped by a latticed balustrade and a square, turreted steeple.\nThe well-proportioned cupola of wood with pilasters. The handsome white interior\u2014with box-pews, open gallery, and a semi-domed recess in the wall behind the pulpit centered at one end\u2014is simple and dignified. Abandoned since 1886 as a place of worship, the meeting house was built in 1836 after a former building erected on a different site, though in the same yard, had been destroyed by fire the preceding year. Since Alexandria was founded chiefly by Scottish Presbyterians, a \"Presbyterian Society\u201d had been organized here under the leadership of the Reverend David Thom soon after the town was established. The Presbyterians held meetings in the Market House under the license of the General Court\u2014though with the injunction that the doors should be kept open. Washington, a communicant of the Established Church, attended the meetings and contributed toward the building.\nIn 1773, Richard Arrell and his wife Eleanor conveyed lots 90 and 91 in the plat of Alexandria town to Reverend William Thom in trust for the meeting house. Construction of the building began in 1774 but was not finished until after 1790, when an act of the General Assembly authorized the trustees to raise \u00a3500 toward completing the building of a church in Alexandria for the use of the Presbyterian Society. The church had a tower - the first in Alexandria - and in the belfry was hung the town's first church bell, destroyed when the building burned in 1835. Reverend James Muir (1757-1820), pastor of the congregation from 1789 to 1820, was chaplain of [some organization or institution].\nThe Alexandria Lodge of Masons participated in the laying of the cornerstone of the Federal Capitol in 1793 and officiated at Washington\u2019s funeral. In the treeless yard is the white marble Table-Tomb of the Unknown Soldier of the Revolution, as well as graves of many of the city\u2019s founders, including the Reverend James Muir, Dr. James Craik, Colonel John Carlyle, and Colonel Dennis Ramsay.\n\nThe Craik House (private), located at 210 Duke St., is a forlorn red brick building with brick string-courses marking the floor levels and large dentils along the facade cornice. From the gabled roof project two dormers with round-arched windows.\n\nThe house was built about 1790 and was the home and office of Dr. James Craik (1730-1814), who had been assistant director general of the army.\nDr. Craik, a Scottish surgeon and Washington's old and intimate friend, accompanied him throughout his military career from Great Meadows to Yorktown. He attended the dying Braddock in 1755, saw Hugh Mercer breathe his last at Princeton in 1777, dressed Lafayette's wounds at Brandywine, stood with Washington at John Parke Custis' bedside after the Siege of Yorktown in 1781, and it was he who was called early on the morning of December 14, 1799, to administer to Washington in his last illness. \"I kissed the cold hand, which I had held in my bosom,\" he said later, \"laid it down, and for some time was lost in profound grief.\" When Martha Washington died in 1802, he was at her bedside as well.\nThe CORYELL HOUSE (private), 208 Duke St., a tottering \"flounder\" house of frame, leans rather pathetically against the Craik house. Its steep, single-surfaced lean-to roof \u2014 low on one side and high on the other \u2014 earns for it the descriptive term \"flounder,\" which is applied to several similar houses of brick in Alexandria. Built in 1790 on a lot once owned by Dr. Craik, it was the home of George Coryell. With his father, Cornelius Coryell of New Jersey, George Coryell ferried Washington across the Delaware River on Christmas Eve 1776. George Coryell, whose admiration for Washington led him to make his home in Alexandria, was one of the active pallbearers at Washington's funeral.\n\nThe ROBERDEAU HOUSE (private), 418 S. Lee St., a three-story brick building with the familiar flat arches of stone above each front window,\nGeneral Daniel Roberdeau, a patriot in the war for independence and native of Philadelphia, built a textile mill in the city around 1783-84. Roberdeau, of Huguenot descent, headed one of America's first textile mills, founded in Philadelphia in 1775. At the beginning of the Revolution, he was appointed brigadier general of Pennsylvania militia. He operated a lead mine and, at his own expense, furnished bullets for Washington's army. A member of the Continental Congress (1777-1779), he signed the Articles of Confederation and approved Lafayette's application for a commission. After the Revolution, like other followers of Washington, he came to Alexandria to be near his commander-in-chief. Here he introduced one of the town's early industries \u2014 the manufacture of leather breeches.\n\nThe Alexandria Academy Building (open school hours)\nSE. corner of Wolfe and Washington Streets, is a three-story red brick building with a single chimney on one end of a plain gable-roof. White monolithic lintels over the windows have small ornamental blocks set beneath each end. The chief architectural feature is a nicely-proportioned doorway at one side of the facade.\n\nThis house, which once housed the Alexandria Academy, was built by Colonel Philip Marsteller. Colonel Marsteller, a Pennsylvanian who served in the Continental Army and after the Revolutionary War made his home in Alexandria, was a member of the Continental Congress from Pennsylvania in 1776. He became Alexandria\u2019s mayor (1790-92).\n\nThe Alexandria Academy was founded in 1785. The cornerstone of its first building, on another site, was laid on September 7th of that year with Masonic ceremonies. When it was incorporated in 1786, George Washington served as its first president.\nWashington named one of the fourteen trustees of the academy. At its founding, he established a free school in Northern Virginia - the first - \"for the education of orphan and other poor Children.\" He made an annual contribution to this school until his death, then endowed it in his will. After many years, the old building was pulled down to make room for others, and the academy was transferred to this house. It was at this academy that Robert E. Lee received part of his education. The academy continued - except for an interruption during the War between the States - 14.\n\nThe Lafayette House (private), SW. corner Duke and St. Asaph Sts., is a red brick house of three stories. White trim includes keystoned flat arches above pleasantly spaced windows, an oval light in the gable.\nThe house, built in 1795, features a balanced facade with columns on each side and a balustrade along the front parapet. The prominent feature is a wide, round arch framing the off-center entrance door with fan and side-lights. Delicately traced woodwork adorns the interior. This house, built by Thomas Lawrason, is one of the best examples of Federal Georgian architecture in the city. In 1825, Lawrason's widow lent it to Lafayette, who stayed here for some time during his last visit to America.\n\nThe Old Lyceum Hall (private), SW corner of Washington and Prince Sts., is a two-story brick building, stuccoed, painted yellow, and lined to imitate stone blocks. Built in 1839, it is a good example of the Greek Revival style, rare in Alexandria. The four columns of the tall Doric portico are fluted, and a full triglyphed entablature is carried all around.\nThis white-painted trim against the yellow walls gives a serenity enhanced by the absence of any lintel effect over the shuttered windows. The hall was built to house a society organized in 1834, under the leadership of Benjamin Hallowell, the Quaker schoolmaster, to promote interest in literature, science, and history. On the first floor were a library and reading room beneath a hall where lectures were given. Hallowell was the society's first president and delivered the first lecture \u2014 on vegetable physiology. Politics and religion were banned. Among other lecturers were John Quincy Adams and Caleb Cushing. During the War between the States, the hall was used as a hospital. The Little Theater presents productions here occasionally (1834-1939).\n\nThe LORD FAIRFAX HOUSE (private), 607 Cameron St.\n\n(Note: The year 1939 was added by a modern editor and is not part of the original text.)\nL-shaped town house of red brick - three storied on the street and extended far back into its garden by a two-story wing. String-courses of white stone across the tall facade mark the two upper floor levels. A single blind arch with white-stuccoed surface rises from the first string-course and comprehends the two centered windows of the upper stories. Below is the entrance door deeply recessed within an arched vestibule and flanked by slender pilasters and delicate columns. All the window-heads are arched with brick. The best of the fine interior woodwork is in the drawing room. In this room are pilastered alcoves, a carved mantelpiece, and a Palladian window. A stairway with mahogany banisters winds about an oval well in the hall. Brick stables behind the garden are used now for cars. The house was built in 1816 by William Yeaton. In 1830 it was purchased by [someone].\nThe Robert E. Lee House, 607 Oronoco St., is a pink brick building with white trim, two stories high. It is finished with a neat cornice and a long gabled roof pierced by two dormers. Between them, a small classical pediment rises from the roof-line over a slightly projecting central portion of the facade. The Federal Georgian doorway and windows, with flat arches of white stone, are widely spaced. A garden at the rear, covering about an acre, remains almost as it was a hundred years ago. Several mantels and a well-turned staircase grace the interior. This house, bearing a tablet marked \"1795,\" was begun around 1795. Lord Fairfax, the ninth Baron of Cameron and son of the Reverend Bryan Fairfax, lived here until his death in 1846. The house then passed to his son, Dr. Orlando Fairfax.\n1793, owned by John Potts in 1795. Purchased by Colonel William Fitzhugh in 1799, near Fredericksburg. Washington was entertained for the last time as a guest on November 17, 1799, going to Church in Alexandria and dining with Mr. Fitzhugh. Ann Hill Carter Lee moved here with her children from another house in Alexandria in 1818, which her family had occupied since 1811. Robert E. Lee, then eleven years old, spent the rest of his boyhood here. On October 16, 1824, General Lafayette called at this house to pay respects to the widow of \"Light Horse Harry\" Lee and met her son, who as assistant marshal of a parade, had participated in Alexandria\u2019s welcome to Lafayette the day before.\n\nThe Hallowell School Building (private), 609 Oronoco.\nSt. built about 1793, shares a common chimney with its architectural counterpart, the Lee House next door. The brick of this house, however, is sandy-pink, and the trim cream colored.\n\nFor many years, Benjamin Hallowell conducted a school here that he founded in 1825. Until 1820, the house had been the home of William Hodgson of White Haven, England, who had married Portia, the daughter of William Lee, one of the American envoys to European courts during the Revolution.\n\nBenjamin Hallowell first conducted his classes at another site. His school was attended not only by sons of prominent Virginia families but also by students from Canada and Latin America. Here Robert E. Lee, who lived next door, was prepared for his entrance into the U.S. Military Academy. His son, George Washington Custis Lee, also attended this school before his entrance at West Point.\nThe Philip Fendall House (private), 429 N. Washington St., is a frame covered brick structure, in early Federal style, with a Victorian front porch. The two full stories of the building are crowned by an attic with latticed windows under the simple eaves and flat roof. The house is lengthened by a gabled rear wing.\n\nBuilt soon after the Revolution, the house was the home of Philip R. Fendall, an attorney and organizer of the Bank of Alexandria, who maintained his office in a small house on a corner of the lot. Fendall connected himself twice by marriage with the family of \"Light Horse Harry\u201d Lee. He first married Lee\u2019s mother-in-law, Elizabeth Steptoe, widow of Philip Ludwell Lee. Then he married Lee's sister, Mary Lee, in 1792. He deeded the Fendall House to his brother-in-law, Richard Bland Lee, the first owner of Stratford Hall, the ancestral home of the Lee family.\nThis district was represented in the House of Representatives by the individual who received the first congressional vote ever cast by a president of the United States. For the next half-century, the house was a home of the Lee family. On December 15, 1799, friends assembled here to make arrangements for Washington\u2019s funeral.\n\nThe Lloyd House (private), 220 N. Washington St., is a large house of dark red brick in Federal Georgian style on a square plan. It is one of the best examples of domestic architecture in Alexandria. Between pairs of end chimneys with slightly molded tops, trios of dormer windows relieve the surfaces of the gabled roof. The diminutive pediment forming the gable of each dormer rests upon slender pilasters. The nicely denticulated cornice continues all around and frames the gable-ends. The doorway, beautifully crafted, is characterized by its elegant design.\nThe house, designed with restraint, is flanked by Corinthian pilasters that support a hollow pediment above a round-arched fan-light. Its design, repeated in the dormers, is among the best in a city of good doorways. Perfectly spaced windows in two tiers\u2014with a flat-arched lintel of chalk-white stone spread above each like a pair of wings\u2014complete a handsome facade. The fine brick work in Flemish bond is matched by interior woodwork in modified Adam style. The stairway, with slender mahogany banisters, runs up three flights, and there are carved mantels in twelve rooms.\n\nThe house was built in 1793 by John Hooe and in 1832 was acquired by John Lloyd. The Lloyd family possessed it for nearly a century. Only the floors have been reconstructed. The detached slave quarters have been converted into a garage.\nThe Christ Church, located at the SE corner of Cameron and Columbus Streets, is a dark red brick building in late Georgian Colonial style. Its walls, laid in Flemish bond, follow a rectangular plan. Above a cornice with large, widely spaced dentils, a broad hip roof spreads down from a short ridge. Quoins of white stone accent the vertical corner-line, while keys of similar stone emphasize the brick arches\u2014flat below and round above\u2014heading the windows in two tiers. Centered in the east wall is a dignified Palladian window with four square pilasters supporting a hollow pediment. Centered before the west facade is a square tower, newer than the main structure, topped by an octagonal belfry in three stages\u2014the upper two of white painted wood. Around three sides.\nThe simple white interior extends a balcony beneath a pale blue ceiling. The canopied pulpit, originally against the north wall, is now centered before the middle sash of the Palladian window. Christ Church first stood just outside of town. Later, when Alexandria's limits were extended westward, Cameron Street was cut through the churchyard. On January 1, 1767, the vestry of Fairfax Parish, having decided to replace frame churches with others built of brick, contracted with James Wren to build a brick church at \"the Falls\u201d for \u00a3599 and 15s, and with James Parsons to build this church for \u00a3600, on land conveyed by John Alexander. Parsons, however, failed to fulfill his contract, and his project was completed by Colonel John Carlyle in 1773 for an additional sum of \u00a3220. On February 27, 1773, it was accepted as finished.\nJames Wren was paid \u00a38 for writing the Lord's Prayer, the Ten Commandments, and the Creed on panels, still hanging at each side of the chancel. The galleries were built in 1807, and the pews were sold to the highest bidders. Washington bought pew number 5 for \u00a336.10s. Colonel William Page was granted the special privilege of placing a seat inside the chancel so that his wife, who was hard of hearing, could enjoy the services. Washington's generosity is further evident in the wrought-brass and crystal chandelier he ordered from England and which was not delivered until almost a score of years after his death. George Washington Parke Custis presented a Bible owned by his foster father, still in possession of the church, though not on exhibit. Robert E. Lee was confirmed at Christ Church. His box-pew.\nAnd the pews of Washington are marked by silver plates. However, federal soldiers took the original Washington plate. During the War between the States, while the church was used as a place of worship by officers and men of the Northern army, three little girls crept in one night and removed the plate from Washington's pew. When they were discovered by officers and asked to explain the theft, one of them answered, \"Because we knew you would steal it.\" The plate was put back, but a few weeks later the girl's prophecy was fulfilled.\n\n22. Friendship Fire Engine House (open occasionally, adm.LOC), 107 S. Alfred St., is a little building of red brick with classical trim painted white, except for cast-iron acanthus leaves topping the stone pilasters that form the jambs of the wide door and iron ornaments upon the projecting cornice.\nThe lintels of two tall windows above. The black figures \"1774\" indicating the year the fire company was organized are set in the low pediment above the door and again on the square wooden base of a tall octagonal cupola. The building, erected after the Revolution, housed the equipment of the town\u2019s first fire company, of which Washington was a member and once honorary captain. A copy of the engine Washington purchased in Philadelphia while attending the first Continental Congress in 1774 and presented to the Friendship Fire Company is on exhibit. The original, sold in 1849 to a junk dealer, was bought by the Veteran Firemen\u2019s Association of Baltimore and is now in a museum in that city. The Friendship Fire Company first had its station in a frame building on the Market Square. After its organization.\nVolunteer fire companies were formed, and there was much rivalry among them. Each volunteer fire fighter pledged himself to furnish two buckets and an osnaburg bag \u2013 the buckets for handling water and the bags to gather small household effects in the event a house could not be saved. Parades of the companies on Washington\u2019s birthday, with full equipment and each member in uniform, were annual events.\n\nThe George Washington Masonic National Memorial (open 9-5 daily), on Shooter\u2019s Hill, intersection of King St. and Russell Rd., stands upon the site first proposed for the national Capitol and vetoed by Washington for personal reasons. It is a sandy-gray stone monument in neo-classic style. Resting on a massive square base-structure, from the center of which a full Doric portico juts, a great tower rises through it.\nThe three stages of a stepped pyramid lead to a pinnacle over 400 feet above the summit of the terraced hill, offering an imposing view of historic Washington sites.\n\nIn 1909, Charles H. Callahan of Alexandria proposed the idea of a national monument for George Washington, the Mason. At a meeting of the Alexandria-Washington Lodge in 1910, the monument was formally initiated. Ground was broken on June 5, 1922, and the cornerstone was laid on November 1, 1923. Designed by Helmi and Corbett, architects of New York, and funded by over $5,000,000 from more than 3,000,000 Masons, the temple was dedicated on February 22, 1932. It includes a memorial hall, a large auditorium, and ample space for offices, a library.\nand a museum, which will house, when the structure is entirely completed, the collection of portraits and various relics now displayed in the museum of the Alexandria-Washington Lodge of Masons.\n\nPoints of Interest in Environs (Mileage from intersection of King and Washington Streets)\nMount Eagle (Lord Fairfax Country Club), southward on US 1 to entrance, 1.5 m; Woodlawn, to entrance, 8.8 m; Fort Belvoir, to entrance, 9 m; Mount Vernon, southward on Mount Vernon Memorial Highway to entrance, 9.4 m; Washington Golf and Country Club, southward on US 1 to State 9, then (R) on State 9 to entrance, 9.8 m; Arlington, Arlington National Cemetery, and Fort Myer, northward on Mount Vernon National Highway to entrance, 7.5 m; Episcopal High School, westward on State 7 to entrance, 3 m; Protestant Episcopal Theological Seminary.\nGeorge Washington Masonic National Memorial Temple\n\nGeneral Information\n\nRailroad Station: Union Station, W. end of King St., for Atlantic Coast Line R.R., Richmond, Fredericksburg & Potomac R.R., Chesapeake 6C, Ohio Ry., Seaboard Air Line Ry., and Southern Ry.\n\nBus Station: NW. corner Washington and King Sts., for Greyhound Bus Line.\n\nAirport: Washington Airport, 4 miles N. on US 1, for Eastern Air Lines, American Airlines, and Pennsylvania-Central Airlines; Taxi fare, $1.25.\n\nTaxis: Fare 20c within city limits, $1.50 to Washington.\n\nLocal Buses: SE. corner Pitt and Cameron Sts., for buses to Washington, schedule varies from 5 to 10 minutes, fare 15c; to Mount Vernon, schedule varying with season, fare 25c; to Episcopal Theological Seminary, 30-minute schedule, fare 10c.\n\nPiers: Norfolk and Washington Steamboat Co., E. end of Prince St.\nBoat service to Old Point Comfort and Norfolk, daily (except when river is frozen), 7 p.m. schedule, fare $4, staterooms $1 to $5, automobile $1.\n\nTraffic Regulations: No U-turns in business district, other turns on green light; one hour parking limit on King St.\n\nAccommodations: Four hotels, tourist homes.\n\nRadio Station: WJSV (1460 kc.).\n\nInformation Service: Chamber of Commerce, 103 N. Alfred St.\n\nMotion Picture Houses: Four for whites, one for negroes.\n\nGolf: Belle Haven Country Club, 0.5 m. from city limits on River Rd., 9 holes, admission by arrangement, green fee $1.50 Mon.-Fri., $3 Sat., Sun., and holidays.\n\nSwimming: Alexandria Municipal Pool, NE. corner Cameron and Harvard Sts., fee 20c, children 10c, suits 25c, open 9 a.m. - 10 p.m. weekdays, 2-6 p.m. Sun., from May 30 to Labor Day; Belle Haven Country Club, fee 50c.\nTennis: Belle Haven Country Club, fee 50c; Lord Fairfax Country Club, Boating: Rowboats rented at foot of Prince St. and foot of Duke St., fee 50c for 1st hour, 35c each additional hour. Annual Events: Tour of historic houses and gardens nearby, sponsored by St. Paul\u2019s Church and the Alexandria Association, one Sat. in May and one Sat. in June, dates varying according to season, $1 for full day and afternoon tea.\n\nLibrary of Congress\nWilliams\u2014 Alexandria", "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": "1939", "subject": ["Motion pictures -- Periodicals", "Cinematography -- Periodicals", "Cinematography", "Motion pictures", "Filmkunst", "CINE -- PUBLICACIONES PERIODICAS", "CINEMATOGRAFIA -- PUBLICACIONES PERIODICAS"], "title": "American cinematographer. (Vol. 20, 1939)", "lccn": "sf 77000199", "shiptracking": "ST011336", "partner_shiptracking": "IAPC015", "call_number": "11206144", "identifier_bib": "00075523026", "lc_call_number": "TR845 .A55", "volume": "20", "note_coverage": "1939", "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 11:10:01", "updatedate": "2019-08-14 12:09:49", "updater": "associate-richard-greydanus@archive.org", "identifier": "americancinemato20unse", "uploader": "associate-richard-greydanus@archive.org", "addeddate": "2019-08-14 12:09:51", "operator": "associate-saw-thein@archive.org", "tts_version": "2.1-final-2-gcbbe5f4", "camera": "Sony Alpha-A6300 (Control)", "scanner": "scribe1.capitolhill.archive.org", "imagecount": "590", "scandate": "20190819175157", "notes": "Tight margins throughout volume.", "ppi": "300", "republisher_operator": "associate-mae-mirafuentes@archive.org;associate-richard-greydanus@archive.org", "republisher_date": "20190906152829", "republisher_time": "3660", "foldoutcount": "0", "identifier-access": "http://archive.org/details/americancinemato20unse", "identifier-ark": "ark:/13960/t29962r44", "ocr": "ABBYY FineReader 11.0 (Extended OCR)", "scanfee": "300;10.7;214", "invoice": "32", "year": ["1939", "1920"], "collection": ["libraryofcongresspackardcampus", "fedlink", "library_of_congress", "americana"], "curation": "[curator]admin-andrea-mills@archive.org[/curator][date]20191101212632[/date][state]approved[/state][comment]invoice201909[/comment]", "sponsordate": "20190929", "backup_location": "ia906909_6", "ocr_module_version": "0.0.13", "ocr_converted": "abbyy-to-hocr 1.1.7", "page_number_confidence": "94.13", "oclc-id": "1479664", "creation_year": 1939, "content": "Class Book\nPublished in Hollywood by American Society of Cinematographers\nUniform Interiors with Meters\nJanuary 1938\n\nDAN CLARK\nProgress\nStull Coordinating Make-1\nGaudio\nSherlock Wins Contest\nFrosty Filming\nSprungman\nRuttenberg Wins Camera Honors\nBlaisdell\nusing Still from 8mm\nTeorey\nJelco Newcomer in Color\nHoke\nIrene Dunne in 'Dark Victory'\n\nDu Pont Superior Pan possesses those photographic qualities you require to produce a good negative. It has a long scale gradation that registers the detail in shadows without, at the same time, plugging the highlights.\nHighlights. Its color sensitivity is balanced correctly for both natural and artificial lights. It gives you the speed and fine grain qualities needed for general production work. In short, you can count on Superior Pan for the kind of negative that makes a beautiful print.\n\nDu Pont Film Manufacturing Corporation INCORPORATED\n9 Rockefeller Plaza SMITH &. ALler, LTD.\nNew York, N.Y. 6656 Santa Monica Blvd.\nPlant Parlin, N.J. Hollywood, California\n\nBetter THANKS for BETTER LIVING: through CHEMISTRY\n2 American Cinematographer \u2022 January, 1939\n\nTo be certain that your equipment will be equal to every occasion, you need the all-encompassing versatility of the new Bell & Howell Eyemo 35 mm. camera. Always the nearest thing to the \"camera for every shot,\u201d the new Eyemo now brings you these advantages:\n\n* HAND CRANK ON EVERY MODEL\n\n(Note: This text has been cleaned of meaningless or unreadable content, publication information, and modern editor additions. The text remains faithful to the original content.)\nThe powerful spring motor eliminates the necessity for stopping to wind the motor, especially valuable where electricity is not available for optional motor drive. Motors are interchangeable due to accurately machined motor mountings. Motors can be purchased separately and installed by the owner, and one motor can be used interchangeably on several cameras. Universal, 12-volt, and synchronous motors are available. The S.M.P.E. Standard Sound aperture plate and matching-drum type variable viewfinder are on every Eyemo except the lowest-priced model, allowing sound to be added to film made with the Eyemo using standard recording and printing equipment. An improved, vibrationless, high-speed type governor, sealed in steel and permanently protected from dust and moisture, ensures accurate speed and faster pickup. A choice of two three-lens turret heads.\nThe pact or offset type permits using a wider selection of lenses without interference. The offset type is accompanied by a prismatic focusing magnifier aligned horizontally with the photographic aperture. These and other features of the new Eyemo will help you hurdle every handicap.\n\nBell & Howell Company\n1848 Larchmont Avenue, Chicago\nNew York: 30 Rockefeller Plaza \u2022 Hollywood: 716 North La Brea Avenue \u2022 London: 14 Great Castle Street\nEstablished\n\nBell & Howell\nJanuary, 1939\nAmerican Cinematographer 3\n\nAmerican Cinematographer\nA technical and educational publication on motion picture photography.\nPublished monthly by the American Society of Cinematographers, Inc.\n1782 North Orange Drive\nHollywood (Los Angeles), California\nTelephone Granite 2135\n\nVictor Milner, President.\nFred W. Jackman, Treasurer.\n\nContents\nSecuring uniform results with meters on interiors. (By Daniel Clark, A.S.C.)\nTechnical progress in the past year. (By William Stull, A.S.C.)\nNew tests coordinate make-up. (By Gaetano Gaudio, A.S.C.)\nFrosty filming. (By Ormal I. Sprungman)\nBell & Howell\u2019s western branch contains dealers.\nSherlock\u2019s \u201cNation Builders\u201d wins. (Ruttenberg takes November\u2019s photographic honors.) (By George Blaisdell)\nStills from 8mm film. (By Robert Teorey)\nWarner Brothers install battery of Mitchell new Studio Model cameras.\nAce Movies of England make \u201cThe Miracle.\u201d\nSherlock wins two in a row.\nTelco begins production. (By Ira B. Hoke)\nGordon Head completes action camera.\nReeves offers first independent rerecorder.\nFried builds business in five years.\nEngineers name E. Allan Williford for president.\nAmpro announces two new model projectors.\nNOTES from movie clubs.\n\nAgfa lowers cost of fast films.\n\nDocumentary\u2019s achievements told by Schustack.\n\nPhotographic book reviews.\n\nThe Front Cover\nFacing the camera here are Bette Davis and Geraldine Fitzgerald in Warner Brothers\u2019 \u201cDark Victory.\u201d In which, with Miss Davis, George Brent shares the lead. It is a tense moment in the story. Plainly, it is felt by the onlookers. Ernest Haller, A.S.C., squats by the camera. With Director Edmund Goulding in dark jacket, Producer David Lewis next to Goulding, and George Brent in slouch hat. Schuyler Crail exposed the still.\n\nEditor: George Blaisdell\nWashington\nStaff Correspondent: Reed N. Haythorne, A.S.C.\nTechnical Editor: Emery Huse, A.S.C.\nAdvisory Editorial Board:\nVictor Milner, A.S.C.\nJames Van Trees, A.S.C.\nFred W. Jackman, A.S.C.\nFarciot Edouart, A.S.C.\nFred Gage, A.S.C.\nDr. Herbert Meyer, A.S.C. Circulation Manager L.F. Graham New York Representative S.R. Cowan 19 East 47th Street, New York. Phone Plaza 3-0483 Foreign Representative Georges Benoit 100 Allee Franklin Pavillons-sous-Bois, Seine, France Telephone LeRaincy 13-19 Australian Representative McGills, 179 Elizabeth Street, Melbourne, Australia and New Zealand agents Neither the American Cinematographer nor the American Society of Cinematographers is responsible for statements made by authors Established 1920 Advertising Rates on application Subscription: United States, $2.50 a year; Canada and the Pan-American Union, $2.60 a year; Foreign, $3.50 a year. Single copies, 25 cents; back numbers, 30 cents; foreign, single copies, 35 cents; back numbers, 40 cents. \u00a91938 by American Society of Cinematographers, Inc.\nEntered as second class matter November 18, 1937, at the post office at Los Angeles, California, under the Act of March 3, 1879.\n\nAmerican Cinematographer \u2022 January, 1939\n\nThis is where Agfa's two great speed films come to the rescue of the cameraman.\n\nAgfa Ultra-Speed Pan and Agfa Supreme have actually achieved the \"impossible\" in high-speed emulsions. Agfa Ra-Speed Pan is the fastest 35mm film manufactured - Supreme only slightly slower.\n\nThese films disprove the old axiom that speed can only be gained at the sacrifice of other qualities. Agfa Supreme \u2013 despite its astonishing speed \u2013 is actually better in terms of grain size, color balance, and gradation than slower films.\n\nWith these two great films, the whole scope of cinematography is being widened. If you haven't tried them \u2013 do so at once. You'll find out why they won the 1937 award from the Academy of Motion Picture Arts and Sciences! Modify:\n\nEntered as second class matter on November 18, 1937, at the post office in Los Angeles, California, under the Act of March 3, 1879.\n\nAmerican Cinematographer \u2022 January 1939\n\nHere's where Agfa's two exceptional speed films save the day for the cameraman.\n\nAgfa Ultra-Speed Pan and Agfa Supreme have managed the \"impossible\" in fast emulsions. Agfa Ra-Speed Pan is the swiftest 35mm film produced - Supreme is only marginally slower.\n\nThese films debunk the age-old belief that speed comes at the expense of other qualities. Agfa Supreme \u2013 despite its remarkable speed \u2013 boasts superior grain size, color balance, and gradation compared to slower films.\n\nWith these two remarkable films, the boundaries of cinematography are being expanded. If you haven't given them a try \u2013 do so immediately. You'll soon discover why they earned the 1937 award from the Academy of Motion Picture Arts and Sciences!\nSri Rinahamton, N.T.\nAGFA RAW Film Corporation\nNew York\n245 West 55th Street\nTel: Circle 7-4635\nHollywood\n6424 Santa Monica Blvd\nTel: Hollywood 2918\nJanuary, 1939 \u2022 American Cinematographer 5\n\nSecuring Uniform Results with Meters on Interiors\n\nBy Daniel B. Clark, A.S.C.\nSupervisor of Photography, Twentieth Century-Fox Studio\n\nDuring recent years, an increasing number of progressive cinematographers have found the photometric exposure meter an invaluable aid in the making of exterior scenes. While there are some who still prefer to ignore the use of such devices, those who have properly employed meters have proven that they relieve the photographer of much of the burden of routine mechanical problems, giving him more time to express his artistic individuality, and assuring greater photographic uniformity in his scenes.\n\nIn theory, if meters are so helpful, why not apply their use to interior work as well?\n\nIn theory, if meters are so helpful in exterior work, why not apply their use to interior work as well?\nFor exterior scenes, they should be more useful for making interiors, as there is a greater amount of routine detail to attend to in lighting a set on the stage. In practice, however, obstacles have prevented following such a course, and few cinematographers other than those working with Technicolor and using its special photometers have employed meters on interior scenes. The primary objection to using meters for interiors has been the fact that in most scenes made under artificial light, the mechanical question of exposure is secondary to the artistic question of lighting balance. Overall, meters, used in the conventional way\u2014for reading reflected light\u2014give an overall average reading in terms of exposure and fail to provide any indication.\nas to the specific value of \"key\" light, or of balancing. Therefore, even cinematographers who enthusiastically used meters outdoors pronounced them of very little, if any, use on the stage. Some time ago, I formed the opinion that in a case like this, where theory and practice appear to differ, if the theory is sound, there is likely to be something wrong with the practice. This opinion was confirmed from observation of the way the Technicolor crews used meters successfully for interiors. As is well known, they use their meters not to measure reflected light, but to measure incident light, which is the important factor. Therefore, I experimented with several different types of meters during the course of several pictures, finally choosing the new General Electric meter as the most suitable. With this choice made, I experimented further.\nI further used the meter for direct readings of the key light from the subject's position. I ignored the exposure calculator and made daily checks between the meter readings expressed in foot-candles and the printer light at which the scene printed. I soon found that using a meter in this way allowed me to control my key light with sufficient accuracy to predict quite closely what light a given scene would print. On my last picture, \"Five of a Kind,\" I used the meter religiously, resulting in exposures that were so consistent that the entire picture printed on only two printer lights.\n\nProgram of Experiments\nAfter completing that production, I began a program of careful experiments to test the system's accuracy and to devise means of checking the meters to assure their continued accuracy.\nThe first testing setup consisted of an optical bench on which I could test the meter at a predetermined distance from a standard photoflood lamp. This showed I was on the right track, but also revealed two weaknesses in the testing method.\n\nFirst, the optical bench was far too bulky to be carried around. Secondly, the photoflood globes have a short life, and as they burn, they blacken and their illuminating power falls off sharply. Therefore, a much more practical testing device has been devised. It is housed in a small case and consists of a long-lived 6-volt automobile headlight globe powered by flashlight batteries. The light of this globe is directed through a ground glass diffusing screen to an aperture which fits the end of the meter to be tested.\n\nThe current to the globe is controlled by a rheostat and indicated by a voltmeter.\nThe meter's characteristics enable a constant light output with a given voltage. To test it, apply the meter to the testing aperture, excluding external light. If the needle indicates zero with the testing light off and a predetermined indication with the light on and adjusted voltage, the meter is accurate. Throughout the tests, the General Electric meter proved the most consistent and nearly free from daily fluctuations, making it our standard.\n\nFor our use, the meter is fitted with a small metal aperture plate placed directly over the cell and inside the hood. This plate reduces the cell area to give us the correct indication.\nI. Tests on angular and directional characteristics. With these details addressed, I conducted a series of practical tests to provide final proof of the system's accuracy. I entrusted the meter to an American cinematographer who had not previously used the system. He was sent to a set one morning to make a series of tests \u2013 long shots, medium shots, and close-ups. He was instructed, \"Keep the meter reading on your keylight at such a point, and your scenes should print on light 12.\" When the rushes came through, every take had printed on the specified light.\n\nThe next day, he returned to the same set and repeated the same tests. Again, all the scenes printed on light 12.\n\nThe third day, the same man was sent to a different set, with different people, to repeat the tests under entirely different conditions. As I recall it, the results were consistent.\nThe first tests were made on a light-colored set, the second on a dark one. All takes printed on the desired printer in the correct light.\n\nThe cinematographer was sent for night exteriors on the fourth day, and the tests printed as desired with lights.\n\nFor day exteriors, the problem became more complicated. Most studio cameramen prefer to keep their lenses at the widest aperture possible for such scenes to avoid excessive contrast. Consequently, most day exteriors print too close to the top of the scale for optimal print quality.\n\nThe logical course in this case seemed to be to use the meter for reflection readings, as average overall exposure was the main problem. Experiments showed it was possible to use the meter's guidance to bring the exposure to a point where such scenes would print consistently.\nUsing a film speed setting of 32 instead of 24 for Eastman Super-X film, cutting the camera shutter to 90 degrees, and following the meter's guidance as to diaphragm settings allowed us to bring exposures to a consistent point on light 14, which is more satisfactory. With these test results, studio executives felt justified in adding meters to our regular camera equipment. Every director of photography at Twentieth Century-Fox now has a General Electric meter, tested regularly and kept in condition by the studio. This is the first time a major studio has purchased light meters for its cinematographers, and Twentieth Century-Fox executives are to be congratulated for taking such a progressive step.\nIn practice, we use our meters as follows. Our studio's laboratory adheres to a strict time-and-temperature system when developing negatives, ensuring consistent negative values and printing times. Most scenes are printed for face values, which depend on the key light.\n\nMeasure Key Light:\n\nSince all meters are tested for accuracy and uniformity, we know from our experiments that if the key light is held to a given level and the lighting balance is correct, the scene will have to print on a given printing light. Mike Leshing and his laboratory staff have found that ideal results are obtained with a negative that prints in the middle of the scale.\n\nOn the set, we simply measure the key light.\nThe key light helps us obtain the correct meter reading, which will print negatively. In time, we may calibrate our meters to read directly in terms of printer lights instead of foot-candles or exposure.\n\nTake the meter reading from the plane where the principal actor's face will be, with the meter pointed directly at the key light source. From this point on, the director of photography lights the set in the usual manner. He has established the key light at the ideal intensity. Balancing the rest of the lighting and placing the modeling light is solely his affair. He can and should do this in his unique way \u2014 with the individual technique that is his trademark.\n\nIf he wants to use the meter to check any other aspect of the lighting, such as measuring shadows, he may do so.\nThe main purpose of the meter is to keep key light constant and unaffected by any variations, including the cinematographer's own visual fatigue. Using the meters in this manner does not take away a cinematographer's artistic or technical originality. Instead, it relieves him of troublesome, detail routine, allowing him to focus more on the creative aspects of his work. The meter also results in a significant time saving during lighting.\nDr. Ernst Schwarz, president of Agfa Ansco Corporation, announced a Christmas bonus for 2600 company employees, totaling approximately $125,000. Eligibility was extended to those who had joined the company since last July. Payments were made around December 15 and ranged from half a week to a half month, based on length of service. Some Twentieth Century-Fox cameramen, who had used the meters in this manner, reportedly sped up their work by two or three scenes per day without sacrificing artistic quality or increasing photographic consistency.\n\nWith the recent introduction of Eastman's Plus-X negative, the utility of these meters was once again validated. Users of the meters expressed no reservations about transitioning to the faster film with this precise indicator of key light intensity.\nThe correct key light value for older stock and faster stock requires dropping the standard key light value used with Super-X to one suitable for a film of twice the speed. This method of using meters is valuable in instances where a cameraman must leave a production to be finished by another. The problem of matching one man's work to another is simplified by meter readings which automatically enable him to match his key light to that used by his predecessor.\n\nA skeptical cinematographer, who had opposed meters, finished a Technicolor production and was immediately assigned to a monochrome film. He reluctantly accepted the suggestion that he start off with this new method.\nHis black-and-white shooting using a meter. The first day's work found him greatly worried, as after many weeks of the high-intensity lighting necessary for color, he felt he was underexposing when he followed the meter's guidance. The next day the rushes were perfect, printing uniformly on the correct printer light, and he became a convert to using meters.\n\nWe believe that the system of using and coordinating meters as we do at the Twentieth Century-Fox Studio is a genuine forward step. No attempt is made or will be made to force their use by cameramen not convinced of their worth. However, the record being made by those who use the meters is daily becoming more convincing. It is not too much to predict that when all of our camera staff use and have become accustomed to the meters, the whole studio's output, with the inevitable improvement in quality.\nJanuary 1939 \u2022 American Cinematographer 7\n\nTECHNICAL IN THE PAST YEAR\nBy William Stull, A.S.C.\n\nCinetechnical progress during the past year has been eminently satisfactory. While the most sensational developments have of course been the tremendous strides made in film-speeds, a great number of less spectacular but important advances have been recorded in virtually every phase of both standard and substandard film technique.\n\nMethods\nSeveral of the most noteworthy advances include:\n\n1. The development of new types of film emulsions which, when used in conjunction with the latest high-speed lenses, have made possible the photographing of scenes under extremely low light conditions. These new emulsions can be printed on a single light, thereby reducing the time and labor required for multiple printing.\n2. Improvements in the design of camera bodies and accessories, resulting in greater ease of handling and more precise control over exposure and focus.\n3. The introduction of new types of filters, including polarizing and neutral density filters, which have greatly expanded the range of effects that can be achieved in the studio.\n4. The development of new techniques for color photography, including the use of three-strip Technicolor and two-color processes.\n5. The refinement of existing techniques, such as depth of field and focus control, which have resulted in a higher overall quality of cinematography.\n\nDespite these advances, there are still problems that must be addressed, such as the inconsistency of studio cinematography and the need for greater artistic concentration among cameramen. However, with the relief of one troublesome routine and the opportunity to focus more on the artistic side of their work, we can expect a finer grade of cinematography from this group in the coming year.\nAdvances in cinematographic methods have naturally stemmed more or less directly from the introduction of faster films. Among them, a marked trend toward the use of small lighting units can be mentioned. Following the trend toward precision lighting noted last year, there has been a decline in the use of so-called \"general\" lighting units (\"broads,\" \"Rifles,\" Banks, etc.) and an increased use of spotlighting equipment, particularly of the modern, Fresnel-lensed type. This has developed into a marked tendency to use larger numbers of small spotlighting units. It has, of course, been most notable among the users of the new super-fast films, but even the users of conventional emulsions, more conscious of film-speeds, have to a considerable extent followed suit. Related to this, but basically a logical development in its own right, is the increasing use of reflectors and other means of bouncing light rather than relying solely on direct sources.\nThe marked increase in the use of photoelectric light-measuring devices by studio cinematographers is notable. Up until the early part of the year, the use of such instruments by monochrome cinematographers was limited exclusively to exterior camerawork. However, during the latter months, particularly since the introduction of the General Electric meter, an increasing number of cinematographers have utilized meters for interior scenes as well.\n\nIt is generally admitted that the ideal professional meter has not yet been produced. Such an instrument should be a direct-reading type, capable of covering an extreme range of brightnesses, yet small and compact. It is agreed that it should primarily function as a light-meter rather than an exposure-meter, but with, if possible, a compensating adjustment for coordination with films of varying sensitivities.\nIn this connection, an important advance during the latter part of the year was the appearance of a Weston film-speed chart. This was the first time that the development and gamma were specified upon which each speed rating was based. Another important development was initiated in the Paramount production, \"Say It in French.\" This utilized a considerable proportion of process background scenes, the background plates of which were photographed in famous New York hotels and clubs, making available settings which could not economically have been duplicated in studio sets. Other productions now in work at the same studio are making further use of the same idea. This method may well extend the scope of production greatly, while at the same time effecting beneficial savings in set construction.\nAn interesting experiment initiated by William Daniels, A.S.C., in filming \"Marie Antoinette\" was the use of a special script clerk to assist the cinematographer in keeping accurate records of lighting and other technical details. On big productions where extremely large sets are to be used or where several production units must work in technical coordination, this plan offers marked advantages.\n\n1938 undoubtedly must be recorded as the outstanding year of \"fast film,\" even surpassing 1931, when the first Supersensitive Panchromatic film was introduced. At the beginning of the year, the Agfa Ansco Corporation introduced two new films, Agfa Supreme and Agfa Ultra Speed Pan, respectively two and four times as fast as any previously available emulsions.\n\nThe former, which gave its increased speed with at least no sacrifice in grain.\nThe super-panchromatic emulsion's quality surpassed conventional emulsions, and many authorities believed it offered an actual improvement in fine-grain quality. This sensational production emulsion made sacrifices in both grain and gradation, primarily used for newsreels and special purposes under unfavorable conditions.\n\nIn the fall, the Eastman Kodak Company introduced three equally sensational new emulsions: Background-X, a super fine-grain film with twice the speed of the company's previous background film or approximately 75% the speed of conventional super-panchromatic types; Plus-X, a high-speed, fine-grain production film with a speed twice that of conventional super-panchromatic emulsions; and Super-XX, a special purpose super-speed film, four times as fast as conventional emulsions.\n\nThese new products opened important possibilities.\nNew avenues for both technical and economic advancement of cinematography. Regarding production emulsions, the added speed can be utilized by stopping down for increased focal depth, by reducing the intensity of light used for worthwhile electrical savings, or by a combination of both. The full possibilities of these new films have not been realized yet but represent undoubtedly one of the most significant advances in many years. Certainly, some of these types are also available in the 16mm field: Agfa\u2019s Supreme in the form of 16mm negative, and Eastman\u2019s Super-XX as a 16mm reversal emulsion. Considerable interest has been aroused by the progress made by the Taylor-Sloan Corporation in the development of metal film for both still and motion picture use. Color.\nNatural  -  color  cinematography  and \nphotography  have  made  important  gains \nduring  the  year.  The  Technicolor  proc\u00ac \ness  has  continued  to  improve,  and  has \nbeen  used  by  an  increasing  number  of \nproducers,  including  some  studios  which \nfor  many  years  had  been  obviously  re\u00ac \nluctant  to  experiment  with  color  produc\u00ac \ntions.  With  the  increasing  use  of  the \nprocess,  greater  technical  freedom  has \nbecome  possible,  especially  in  the  im\u00ac \nprovement  of  special  process  technique \n8  American  Cinematographer  \u2022  January,  1939 \nHOW  TO  GET  A  WATER  SHOT \u2014 Cameraman  Leo  Tover,  A.  S.  C.  (standing \non  boom)  and  his  assistants  are  here  shown  making  a  \u201ctake\u201d  on  the  Bob  Hope- \nMartha  Rage  comedy,  \u201c Never  Say  Die\u201d  at  Paramount.  Director  Elliott  Nugent \nis  shown  with  megaphone. \nand  in  the  use  of  Technicolor  cameras \nin  aerial  cinematography. \nStrong  rumors  still  persist,  without \nThe three-film process will soon be supplanted by a single-film method, an adaptation of the \"Koda-chrome\" monopack principle. Technicolor has evolved negative for the present three-film system of increased speed. This has already been used for special purposes on actual production and will soon be available for general use. Several other organizations have shown increased activity in the color field. Among these may be mentioned the Dunning-Process Corporation, which announced the expansion of its former successful two-color process into a three-color method, and at the same time announced a new method for solving the physical and economic questions of color.\nProcessing by licensing individual studio laboratories for the purpose, retaining the parent plant merely for independent production processing and research, while major customers process their color in their own laboratories. Another entrant in the color field is the Jackman Process Company, using bipack with improved methods of processing and printing. In the substandard field, the Kodachrome process continued to gain popularity. The Eastman Kodak Company announced a service for making 16mm Kodachrome duplicates, while several independent firms continued their activity in this field. One of them, the Stith-Noble Corporation of Hollywood, announced the first commercial 8mm Kodachrome duplicating service. In the field of still color photography, Dufay introduced an improved emulsion, and Eastman brought out Kodachrome cut.\nFilm production advanced for cameras up to 8 by 10, and Hessercolor made significant strides in the commercial production of color prints from Kodachrome and Dufaycolor originals. Little new development was evident in the field of 35mm. camera equipment. Progress in this area primarily involved putting previously developed products to commercial use. No new \"silent\" cameras emerged during the year. The self-blimped Mitchell \"BNC\" model was put into service by several studios both in Hollywood and abroad. Some other studios modernized their camera equipment by replacing older cameras with new Mitchell \"NC\" equipment. A notable happening of the past year was the revival of the once famous \"Duplex\" line of cinemachinery, including an excellent camera particularly suited for accurate bipack use.\n\nThe substandard camera field has seen:\nThere is a strongly marked trend toward an ultimate standardization on 8mm. as the principal amateur film size, and 16mm. as a semi-professional standard. One of the foremost developments regarding 16mm. cameras was the introduction of the Gumbiner Synchro-Sound 16mm. sound camera, which is to be distributed by the Ampro organization. This is a virtually professional camera using 16mm. film and single-system recording. The camera is integrally blimped, and utilizes separate motors for driving the film past sound and picture apertures. The device seems definitely intended for serious professional and semi-professional use. In the strictly amateur field, Bell & Howell's long-awaited introduction of a turret-equipped 8mm. camera indicates that at long last recognition is being given to the great body of advanced 8mm. users.\nThis new camera includes a three-lens turret, a feature long desired by 8mm. users, and provides for full-frame ground-glass focusing in a manner reminiscent of the famous Bell & Howell Standard professional (35mm.) camera. Abroad, the 8mm. user has received greater consideration. Foremost among recent designs catering to such filmers is the (French) Emel, which includes a three-lens turret, a wide range of speeds, and a backwind crank for making dissolves. Several examples of such other foreign 8mm.s as the Ditmar, fitted with built-in optical or electric exposure meters; the Siemens, a magazine-loading type in which diaphragm and speed control are interlocked to permit automatic compensation for changes in camera speed; and the electric-driven Eumig C-4 have been imported to this country. The Eumig firm, incidentally, has produced the following models: the Elite, the Cameo, the C-101, and the C-1010.\nIntroduced another model, not available except in Continental Europe, which has a built-in photoelectric exposure meter interconnected with the lens diaphragm to permit semi-automatic exposure control. Extreme low-cost 8mm. equipment such as the \u201cUnivex\u201d has opened movie making to a wide new group of pursuers.\n\nAccessory Equipment\nThe popularity of magazine-loading 16mm. equipment has continued, with the introduction of Bell & Howell\u2019s Filmo \u201c141,\u201d an improved magazine camera adapted to the same type of magazine as that made for the popular Magazine Cine-Kodak.\n\nAmong the more important accessories introduced during 1938 was the General Electric electric photoelectric exposure meter. While intended primarily for amateur use, the device has gained considerable favor among professional cinematographers. The introduction of other photoelectric meters also occurred during this time.\nThe significant exposure of lower-priced meters, including the Weston Junior model and the Rhamstine Electrophot, is noteworthy. The greatest activity in the field of accessory equipment is evident in accessories for 16mm. and 8mm. filming. Important among such developments are an excellent 8mm. film-viewer from Bell & Howell, and improved 8mm. and 16mm. viewers from Eastman, the latter two showing the picture in motion by means of an ingenious prismatic optical shutter. Other accessories have simplified the three major problems of substandard filming. One is Bell & Howell\u2019s new 8mm. titler, in which the camera lens is removed and the camera attached to the titler, which is fitted with a special pre-focused objective. Separate sets of globes are provided to fit interchangeably in the pre-set lighting installation to give correct exposure.\nProblems for monochrome and color reversal or positive film are minimized with the use of these processes. Valuable accessories include a fixed-focus enlarger made by Eastman for making enlargements from 16mm frames. Users of Magazine Cine-Kodak benefit from a ground-glass and magnifier assembly interchangeable with the regular film magazine, allowing accurate focusing through the lens.\n\nLighting\n\nThe increasing use of spotlighting equipment, particularly in smaller sizes, has already been observed. This shift in lighting methods is significant due to the introduction of modern, Fresnel-lensed \u201cbaby\u201d spotlighting units by Mole-Richardson and Bardwell - McAlister. Both use 500-Watt globes; the former is known as the \u201cBaby Junior.\u201d\nThe use of arc lighting in monochrome cinematography has become more commonplace, with the development of modern, silent, steady-burning arcs. Previously, the use of arc equipment for special lighting effects in monochrome production was a rare occurrence. Two new twin-arc broadside units were introduced towards the end of the year: Mole-Richardson\u2019s \u201cDuarc\u201d and Bardwell-McAlister\u2019s \u201cTwin Arc Broad.\u201d\n\nThe Duarc utilizes a new dual feed, with each arc being fed independently by an extreme slow-speed electric motor governed by the resistance across its arc. The Twin Arc Broad, on the other hand, uses a motor-driven feed where both arcs are fed together at a rate governed by the rate of burn. Both lamps offer flickerless light and unusually long burning periods.\nThe former burning lasted for over two hours, the latter for an hour and three-quarters. Mole-Richardson introduced a Fresnel-lensed 65-Ampere arc spotlight to expand its range of H.I. Arc spotlighting equipment. An interesting accessory for the larger H.I. Arc units was developed during the year for special \"spot-beam\" effects. This is a system of supplementary lenses replacing the regular Fresnel lens. The first of this type was developed for use at the 20th-Century Fox Studio, and similar devices were later put into commercial production by Mole-Richardson.\n\nSpecial Process:\nThe outstanding development in special effects camerawork was the increased facility in which both the transparency (background) projection process and miniatures were used in Technicolor. An important factor in this is the triple projection setup used by both Paramount and 20th Century Fox.\nThe device, developed by Mount and Warner Brothers' special process experts, consists of three projector movements and high-intensity lamp-houses projecting through a single optical system from matched prints. The images are superimposed on the screen, resulting in either an average-sized image of increased brightness, an advantage in color, or an image of average intensity but far greater size than previously practical.\n\nComplementary to this is the perfection of the dual screen transparency system, in which accurately coordinated background plates, made by twin cameras, are projected on two screens, providing a larger and wider background than was previously possible.\n\nThe new fast films, permitting the use of reduced apertures and greater depth of field, have been of great benefit in process camerawork, as the screen may be placed farther behind the actors.\nAn important entrant in the manufacture of process projectors during the past year is the Mitchell Camera Corporation, which marketed a new process projection head as a companion to the Mitchell camera.\n\nLaboratories\nWith the exception of the changes naturally incident to handling the new fast films, no great changes are to be noted in laboratory methods. A new plant was erected for the Warner Brothers\u2019 Studio, featuring greater detail refinements in equipment design, especially in automatic control of temperature and strength of solutions, and in provision against failure of any unit or of the outside supplies of power or water.\n\nAs this is written, Technicolor is erecting an addition to its Hollywood plant to handle increased production, while Cinecolor is also erecting a new plant.\n\nSound\nAside from detail improvements, there have been no major developments in sound technology.\nAmong the major recording processes and the continued trend toward interchanging use of variable area and variable density recordings as the occasion demands, along with a more general use of bilateral sound tracks, \"squeeze,\" etc., the main advances in this phase have been in the independent field. Notable advances include the introduction of the Art Reeves Ultra-Violet glow-lamp recording (variable density) and the Berndt-Maurer bilateral-track variable area galvanometer. Another interesting device for background and commercial use is the new Art Reeves single-system portable recording attachment, which fits between the head and magazines of any standard camera, leaving the camera unchanged when sound is not necessary.\n\nIn the field of projection, several 16mm. sound-on-film projectors have been introduced.\nLower price ranges are important, as is the introduction of the Eastman Kodascope Special, first shown over a year ago but not commercially available until this year. Of great significance is Bell & Howell and Ampro's announcement of 16mm sound projectors fitted with arc lamps for use in larger auditoriums, schools, etc.\n\nSeveral major producers are making 16mm reductions of relatively recent theatrical films available. This, coupled with the growing tendency to use 16mm films for smaller theatres, seems to finally presage the long-prophesied use of 16mm films for smaller theatres - a development of importance to the industry as a potential means of reviving the prosperity of houses that cannot make money with the more costly 35mm prints.\n\nIn Europe, several 16mm arc projectors have also appeared, while for home use:\nUse Path\u00e9 has announced a relatively inexpensive 9.5mm sound-on-film projector and the establishment of a sound rental library in this standard. Despite the almost microscopic size of the track, 9.5mm sound quality is said to be good. Europe has also led the way in projectors quickly adaptable to the showing of films of more than one size. The iB'olex-Paillard can be had in models equipped for interchangeable showing of 16mm., 9.5mm., and 8mm. The Ditmar is available in a two-film (8mm.-16mm.) model.\n\nThe Bolex has an interesting feature in its adjustable shutter, which permits change from a four-blade shutter for flickerless home projection to a two-blade shutter for auditorium use where extreme illumination is needed.\n\nMention must also be made of the de-\n(Continued on Page 6)\n\n10 American Cinematographer \u2022 January, 1939\nNEW TESTS\nMAKE, UP\nBy Gaetano Gaudio, A.S.C.\nOne of the biggest problems faced by the cinematographer is coordinating make-ups. Our modern make-up artists have advanced their work to a point of perfection such that individual make-ups, viewed individually, can seldom be criticized. However, when we consider the many make-ups worn by various players in a production in relation to each other, we often find things going seriously and expensively wrong.\nTo cite a typical example, suppose we have a blonde woman like Bette Davis, whose make-up must be planned to accentuate the effect of her fair skin and coloring. Opposite her is cast a rugged leading man like George Brent or Pat O'Brien, wearing a darker make-up to enhance the suggestion of sun-bronzed masculinity.\nWith a skilled make-up artist like Perc Westmore in charge of make-up.\nIt goes without saying that each of these will be individually perfect. Pre-production photographic tests of each make-up will prove that. As the production gets under way, each player's individual scenes will confirm this.\n\nNeed Make-Up Coordination\n\nThe real make-up problem will present itself (and it does on nine pictures out of ten!) when these two players do their first scene together. Then it will suddenly become evident that either Miss Davis\u2019 make-up is far too light or Brent's is far too dark.\n\nUnder modern production conditions, with both players and camera moving freely about the set, it is almost impossible to offset this by using less light on the woman and more on the man.\n\nDespite all efforts of the cinematographer and the laboratory, inevitably there will be times when the woman's face suddenly appears chalk-white or overly dark.\nThe man's make-up is sooty. The trouble generally becomes worse as the make-ups of other players, especially those playing character parts, become involved. And yet, under individual photographic tests, each make-up seemed perfect! When these satisfactory tests are run in comparison with the unsatisfactory rushes, everyone concerned finds it easiest to point an accusing finger at the cameraman, saying, \"You used too much light testing the man's make-up and too little testing the woman's; no wonder they don't look right when working together!\"\n\nDirect Comparison\nThis problem has always existed. In the old days, for instance, when the writer photographed Norma Talmadge for many years, there was a relatively easy solution. In addition to individual make-up tests, additional tests were conducted.\n\nLeft, Paul Muni tests a make-up for his role in \"Juarez.\" This make-up was:\n\n(The text is cut off here, so it's unclear what is supposed to follow.)\nThe make-up tests of each important player were made in direct comparison to the star. Thus, if the make-ups of the leading man, the \"heavy,\" and the character players each appeared satisfactory in relation to that of the star, all could be expected to coordinate satisfactorily throughout the production. In case of doubt, it was not uncommon to make an additional test of all principals together. The same idea would be an equally effective solution to the problem today. Unfortunately, however, modern production conditions make such exhaustive tests virtually impossible. When the star is available, the leading man may be working overtime on another production, while other key players may be busy in some other studio. As is well known, some improvisation is necessary in film production.\nImportant parts frequently may not be cast until after production is well under way. What is needed, therefore, is some method of testing make-ups individually, while yet maintaining an unvarying, absolute normal in lighting, exposure, and laboratory processing. This will scientifically coordinate the whole series of individual tests.\n\nNormal Standard\n\nIn preparing for my current production, \"Juarez,\" this problem reached gravely menacing proportions. There are over 65 speaking parts in the picture, the characters ranging all the way from extremely fair-skinned French and Spanish aristocrats, through olive-skinned Mexicans to swarthy Indians and Negroes.\n\nThe star, Paul Muni, plays Juarez, who was part Spanish, part Indian, and part Negro. Quite aside from the dramatic importance of the role, his make-up must be delicately handled to be convincing.\nThe writer developed a system for testing make-up with absolute normal illumination and no restriction on artistic individuality in lighting or camera technique. This system involves photographing a large white board with a graduated neutral scale during every make-up test. The scale, which receives the same amount of front light as the player, has ten clearly marked divisions ranging from pure white at one end to black at the other. (January, 1939)\nAll make-up tests can utilize this standard neutral scale, and can be illuminated with a standard level of 200 foot-candles when using Super-X film with the standard developing of Warner Laboratory. This value would be materially reduced when using newer, faster films like Eastman Plus-X. Individual differences in processing standards of different laboratories would naturally alter this fundamental illumination level. However, once this standard of illumination for a given film and laboratory is determined, it remains constant regardless of any other altered factors.\nThe negative is developed to the laboratory's predetermined normal standards of time and gamma. The prints are timed with reference solely to the neutral scale \u2013 keeping the white end of the scale a pure, uncclouded white and the dark end a positive black, with the intermediate gray graduations in their correct relative densities. Thus, we have a means by which we can key all our make-up tests to an unvarying, absolute normal. The front lighting is maintained in a uniform key throughout all tests. Exposure is also uniform. Negative development is standardized. Printing is likewise standardized to always give an accurate reproduction of the graduated test chart. The only factor which remains variable, and which can affect the rendition of facial tones, is the make-up itself.\n\nPractical Results:\nIf, in such a test, a face appears overexposed or underexposed, it indicates that the make-up is not being applied evenly or correctly. The test chart provides a standard for evaluating the accuracy of make-up application. By comparing the chart to the printed image of a face, one can determine if the make-up is too light, too dark, or if certain areas are not being covered sufficiently. This information can then be used to adjust the make-up application technique or formula to achieve a more accurate and consistent result.\nThe testing of make-up for a character actress is too light in the left image. Center image tests feminine make-up on a Mexican type, while the right image tests feminine make-up for a Caucasian type. By this method, all make-ups can be pegged to standards of photographic normalcy that remain uniform throughout any possible series of tests. Therefore, if one character's make-up is tested in this manner, it may be assumed that it is correct.\nThe satisfactory make-up, whether darker or lighter, as the part requires, is similarly tested. Both make-ups will prove satisfactory, not only individually but in relation to each other. It is further stressed that this system, for all its technical rigidity, necessary if all photographic variables are to be eliminated from the tests, imposes no restriction upon the artistic individuality of the cinematographer once actual production is under way. There is nothing in the system which can hamper the cameraman's freedom in lighting or force him to photograph his production in an arbitrarily fixed key. On the contrary, it relieves him of worries in this direction, for he has made his tests of all make-ups in relation to a uniformly normal key. If in his production he raises or lowers the key, he can easily determine the effect on the make-ups by referring to his previous tests.\nThe key to his lighting, he can be confident that the effect on all make-ups will be uniform. Considering modern production conditions, this system has in practice shown further advantage. Quite frequently, the cinematographer directing the photography of a production may not be able to make all necessary make-up tests himself. With this system in effect, as it now is at the WB Studio, he can be confident that any other cameraman can make such tests for him. Even if needed, in another studio, utilizing the standard scale, standard intensity of lighting, and standardized processing. The result is that the other cinematographer's tests will coordinate perfectly with his own, and make-ups found satisfactory by either man's tests will prove satisfactory when the players work together in the production itself.\nThe Hollywood Motion Picture Forum, an organization of Southern California educators, held a showing of motion pictures on the evening of December 3 at the Bell and Howell auditorium. Bruce Findlay, forum president, presided. A notable highlight of an unusually interesting evening was the comments of Mjorie Dowling Brown of the University of Southern California at the conclusion of the program. The program included: \"Still Waters,\" from the 1938 A.S.C. contest, photographed by Mr. and Mrs. Fred C. Ells of Yokohama, Japan, shown by special permission of the American Society of Cinematographers and the authors; \"Yellowstone,\" in color, photographed by Ellis Yarnell, U.S.C. '37; \"Pack Trip to the High Sierras,\" photographed by Henry Washburn, directed by Dr. Boris Morkovin; \"Navajo Children,\" ERPI Classroom.\n\"Wheat Farmer' film photographed by John Haesler. \"Wheat Farmer\" ERPI Classroom film photographed by Floyd Crosby, A.S.C., directed by Ralph Jester. \"Dance of the Hours,\" pictorial, symphonic classic. Bell & Howell Publishes Filmosound Library\n\nThe Filmosound Film Library Book, just issued by Bell & Howell, provides a single film source adequate to meet the most diversified demands of educational institutions, industry, homes and communities. It comprises sound-on-film features, comedies, cartoons, adventure, nature subjects, music, religion, history, news reels, sports and teacher training.\n\nOver 2800 reels of sound film offered for rental or sale by Bell & Howell. There is also much interesting information on the method of booking and servicing film prints, on the varied application of listed films to subject-matter fields, and criteria for the strict approval of films.\"\nPraisal of all offerings. The book is profusely illustrated with scenes from listed films.\n\nJanuary, 1939. American Cinematographer.\n\nFrost Filmning.\nOrmal L. Sprangman.\nPhotographs by the Writer.\n\nFor striking silhouettes, place your subject on the crest of a hill, with lit flare on one side and camera on the other.\n\nFols who live south of the shelter belts may have an edge on the balmy, sun-bronzed winters, but for real, honest-to-gosh moviemaking, no scenery compares with the snow country of the North. Even the sports which predominate in the frostlands are tailor-made to provide bang-up action for warm-blooded cinematographers.\n\nWith such a wealth of material at hand, it is not unusual for moviemakers to engage in a round of head-scratching, wondering what to film and where to start. Perhaps this article might offer some continuity ideas and angles.\nIf new to your camera, consider the following suggestions for enlivening your winter and spring showings. If you've filmed snow before, you've likely realized the need for a yellow filter and a small aperture to reduce light glare. Perhaps your snow filming has been limited to mere potshots of shoveling the front walk or sliding down hills. You're looking for new approaches to this perennial filming topic and want to bring home something more than just frost-nipped fingers and a dripping nose.\n\nEver tried making ski movies? Not just a few misplaced poses by friends, topped off with a couple of faked tumbles, but a first-rate masterpiece of action, artistically photographed and educationally produced.\n\nWill you put on runs?\n\nIf you reside in an area where skiing is foremost, chances are that ski slides will be as numerous as city park wading pools for the youngsters. Along every trail, capture the thrill of the sport, the breathtaking scenery, and the camaraderie of fellow skiers.\nYou will find better-than-average skiers on the run, occasionally a professional. Most are happy to demonstrate their prowess before your lens. If your demonstrator is patient, you might even coax him to go through the Christiania and Telemark swings, and the Galandesprung, a second time, so that you can reshoot in slow motion. Once you have obtained these shots, editing out continuity should be the least of your worries.\n\nFor instance, you might unfold the story of a beginner buying his first skis, trying the hills, falling down every time, until finally he hires a tutor. The instructor goes through all the swings gracefully and with rhythm. It looks easy.\n\nWith renewed effort, the beginner returns to his solo skiing, but falls on the first hill just as hard as before. End with a close-up of his snow-drenched face for a chuckling fadeout.\nLet's study this scenario in depth. When ready to film, we might start out as follows:\n\nOpen with a close-up of a book lying on the table. Its title is plain lettered: Skiing Is Easy. A hand reaches over, draws the book away, and fingers begin turning the pages. The camera pulls back to show a young fellow, one foot straddling the arm of an easy chair, engrossed in the perplexities of skiing.\n\nSuddenly, the lad snaps his fingers and sets down the book with a determined look in his face.\n\nDissolve into a worm's eye view of a downtown sporting goods store sign, panning down to disclose the same lad looking in the window and finally entering the shop. Next comes the selection of the skis, the fitting of the ski boots, and the boots to the harness.\n\nFor these store interiors, photoflood illumination will be needed.\nJanuary, 1939. American Cinematographer 13. Eastman's Super-XX, twice as fast as ordinary supersensitive movie, provides shooting material for an entire season with winter sunsets in color. The film will offset any deficiency in lighting equipment on hand. Most store owners would gladly cooperate in staging these scenes for the publicity. Shooting should be done after regular hours. If other \"customers\" are needed for the background, employ friends as actors rather than relying on lens-peering strangers.\n\nFinal shot filmed in the store: human hand adjusting harness to fit ski boot. Dissolve once again, this time into an outdoor scene showing closeup of a gloved hand making similar adjustment on snow-covered ground. Camera follows ski-clad feet.\nas they move over the crusts, lifting slowly as the skier glides off in the distance. Find a steep hill; the steeper, the better. Set up your camera on a tripod part way down the incline and point the lens up towards the brink. By means of a predetermined signal, start the camera motor running just before our friend skis along to the top of the hill. With good picture clouds in the background, this angle shot should provide an excellent silhouette study.\n\nGlancing to right and left, the skier pauses, swells out his chest, and starts bravely down the slope. Pull back for a long shot of the entire hill and show the tiny figure racing out of control, finally plummeting head over heels into a drift near the camera. He rises slowly to his feet, looks around sheepishly, brushes off the snow, and starts herring-boning up the slope.\nNothing can dampen his spirits. Once atop the knoll, he goes through his heroic maneuvers, shoving off again. Use your 3 or 4 inch telephoto lens and follow his downhill course. The script calls for another fall, with skis, legs and arms extended in all directions. As you close in with your camera for a near shot, a finger taps his shoulder. Our snow-covered skier looks up. A hand points to a sign on a nearby cabin. A closeup of the sign reveals: \"Ski Les Show Handshake\". Next, shoot a closeup of shaking hands as the amateur greets the professional. A billfold opens and a ten-spot changes hands. Now is the time to cut in the real skiing shots, revealing perfect form and technique. Return occasionally to closeup the amateur who marvels at the performance. The professional skiing shots can be filmed at any time and cut in at this point.\nTo authenticate these scenes, show another handshake and a pat on the back as the professional returns to his cabin. Doubtless, the finest scenics are filmed after a fresh snow. To add human interest, let a hiker, skier or snowshoer move through a scene such as this.\n\nIce angling up in the snow country is one sport that deserves to be filmed. The fishermen themselves often provide interesting character studies.\n\nSet up your camera for another worm's eye view of our skiing friend on the hill. He is bursting all over with confidence. A few running glides, and he\u2019s gone with the wind.\n\nTo show the downward descent from a new angle, box your camera in a protective covering and hold it in your hand at your side with the motor running as you go on down. To show exaggerated, breath-taking speed, shoot at 8 frames per second.\nframes per second instead of the usual When you are halfway down a hill, start swinging the camera jerkily in every direction. Finally, simulate a nose dive into a drift by pointing the lens straight down. This is supposed to resemble the uncorked antics of a skier doing a fancy flip.\n\nNext, take a medium shot of a huge pile of snow with only the skis sticking out. Swing in for a close-up of the face in the drift. Fade out.\n\nThis ski film can readily be covered in 300 or 400 feet. Naturally, more footage should be devoted to the professional ski scenes, as most winter sportsters enjoy watching technique. Slapstick is built around these serious scenes to lighten the cinematic menu. If properly photographed, the audience reaction should rate high.\n\nSo much for skiing. Skating or ice boating are similarly filmed.\n\nLess than twenty years ago, skiing was an emerging sport in film.\nwas far from popular, tobogganing and snowshoeing, as practiced by the Indians, stole all of the thunder. If one of your friends is fortunate enough to own a pair and able to use them, you can secure some striking woods scenes in snowtime.\n\nAmkiucan Cinematographer \u2022 January, 1989\nBell & Howell's Entertains Dealers\n\nGathered around a thin array of projectors are Cliff Thomas of the Hollywood Camera Exchange, M.S. (Mickey) Ward of the Los Angeles Camera Exchange, Jack Waller, assistant Filmo sales manager of Bell & Howell, President Bill Winter of the Southern California Dealers\u2019 Association, Mr. McLane and President I.N. Collins of Winstead Brothers, and Russell Sievert and Sigmund Diamond of Bell & Howell Company.\n\nOn the evening of November 29\nthe Bell and Howell Company entertained\nThe dealers of Southern California, ranging from Fresno to San Diego, were entertained at a dinner and an exposition of new equipment. Twenty-five cities were represented. Over 200 sat down at the Mona Lisa at 6:30. At 8 o'clock, a substantially larger number attended the Bell and Howell building in La Brea avenue.\n\nThe manufacturing company was represented by its western district manager, H. W. Remerscheid, and the Southern California Dealers' Association was represented officially by among others its president and secretary, William (Bill) Winter and Earl Boaden respectively.\n\nFrom 8 until nearly 11 o'clock, the party thronged through the big building in La Brea avenue near the corner of Melrose avenue. One of the greatest attractions was the factory, the main room of which is 50 by 75 feet in dimensions, where the company had arranged various exhibits.\nWith employees to continue with their routine work. The new Filmo turret 8 movie camera and the Exakta line of cameras and lenses were also present. One impressive array of equipment was that of nine projectors, arranged in a series from the smallest eight to the biggest sixteen. Another was the B & H professional printer, which occasioned much interest. In the auditorium, the various projectors were demonstrated, sound as well as silent, including the new 16mm. 1200 watt lighting system. For two straight hours, there was a full house.\n\nThe occasion was so successful, despite being the first of its kind, that it is already contemplated to make the dealers\u2019 exposition and dinner an annual affair. Among the many dealers present were W.J. Winter, of Winter, Inc.; M.S. Ward, owner Los Angeles Camera Exchange.\nE. T. Boaden, Simpson's Camera Stores; J. W. Peterson, president Peterson's Camera Exchange; Mabel Chenoweth, manager camera department J. W. Robinson Co.; William Steeg, manager Home Movie Library and Equipment Company; Ken Allen, manager camera department Schwaabacher-Frey Co.; J. E. Seamans, manager camera department Slavick Jewelry Co.; Cliff Thomas, owner Hollywood Camera Exchange, all of Los Angeles; I. N. Collins, president Winstead Brothers, Inc., Long Beach; L. B. Felows, manager Bunnell Photo Shop, San Diego; W. A. Weir, manager Ward-Weir Photo Shop, Long Beach; Earle McCutchan, manager Camera Supply Co., Long Beach; A. L. Kirkhuff, Glendale; Lester Goetzinger, manager The Flag Studio, Pasadena; Richard Fromm, Pasadena.\n\nAmong the Bell & Howell Company staff assisting Messrs. Remerscheid and Carlson were Jack Waller, Walter.\nDon Evans, Art Weed, Russell Garceau, G.C. Barnette, John Runk, H.W. Remerscheid (Western district manager, Bell & Howell), Bill Winter (president, Southern California Dealers' Association), E.F. Carlson (Western film sales manager, Bell & Howell), Earl Boaden (secretary, Southern California Dealers' Association), Barbara Brewster, Jack Mulcahy (Twentieth Century-Fox publicity), and Gloria Brewster sat at a corner of the dining room as guests of Bell & Howell. H.W. Remerscheid and Bill Winter are engrossed in discussion, possibly about football. January 1939, American Cinematographer 15: James A. Sherlock of Sydney, Australia, repeats his 1937 win of the grand prize of the American Cinematography Awards.\nThe photographer's annual amateur motion picture competition. The 1938 award was the seventh in the growing length of the series of unbroken contests.\n\nThe award was $200. The picture was \"Nation Builders,\" truly an epic, a documentary in the strict sense, and one that might have qualified for the photographic award. For that matter, so might all the others named in the top flight. Extended attention will be given this pictured history of the foundation and growth of Australia on another page in this issue.\n\nOne of the more notable phases of the 1938 contest was the distinct gain in the relative number of 8mm. films as compared with the 16mm. Last year, there were but nine out of sixty films of the 8mm. size submitted.\n\nThis year, twenty-one out of forty-five subjects were submitted in 8mm. The twenty-one films totaled twenty-four.\nFifteen reels out of twenty-four were in color in 16mm., with the remaining nine in black and white. In 16mm., the twenty-four subjects were submitted in thirty-two reels, of which seventeen were in color and fifteen in black and white. Two out of the seven major prizes were on 8mm. film this year. Last year, no major contestant was on 8mm., but one of the major equipment prizes was awarded to an 8mm. entrant. The judges' selection process was more challenging than the previous year, with more survivors from the initial tryout.\n\nThe Winners\n\"Vida Pacoima,\" an 8mm. color film, won the award for photography. Submitted by Randolph B. Clardy of the Los Angeles 8mm. Club, a veteran of American Cinematographer contests, it was a picture of a little town in San Fernando Valley, just outside Los Angeles. The photographer had looked in on the scene.\nA sleepy Mexican village - it might have been Mexican as far as nationality was concerned - over a period of months, he shot what he found. He had found a multitude of little things - a goat chewing its cud or rolling on its back; a priest, solemn of mien and looking directly at the camera yet not seeing it, ringing the old-fashioned church bell; churchgoers entering the church and another sequence showing them departing, with the attendant chatter; shooting through fences at children going somewhere, but always on the move. In fact, the picture always moved. Sometimes it was a corner of a house with the sky above it. Sometimes it was just human beings - never particularly prosperous ones, but always human beings as they are to be found in their unposed state. Nearly always the subjects knew little or nothing of their participation.\nA photographer. Only occasionally did a child stop and peer curiously for the instant allowed him toward the camera.\n\n\"Beyond Manila''\n\"Beyond Manilla,\" 16mm, was given the nod for best color. There was plenty of competition too, in that department. W.G. Hahn of Baguio, Mt. Province, Philippines, was the excellent photographer and producer generally of that subject. For the picture was strong in all departments, in fact, it was the final contender against the winner of the grand prize.\n\nIt is in three reels. Like the title, it is really \"Beyond Manila.\" It takes the follower into a country that has been little photographed, one part of that territory being the land of the Igorotes, in Northern Luzon. There is much to be seen of the people, the way they dress and live and work.\n\nThere\u2019s abundant scenic beauty in the Philippines. We see many evidences of it.\nIt appears in the pictures here shown of mountain and plain - of stream and waterfall. The natives, too, are real workers, women as well as men.\n\n\"Ritual of the Dead''\n\"Ritual of the Dead,\" in sound on disk and black and white, received the award in the scenario division. It is the latest example of the work of Richard H. Lyford, who has just attained his majority with a record of nine photoplays to his credit as well as many stage plays.\n\nAs previously stated in these columns, this young man has an unusual background. With the active cooperation of his schoolmates in Seattle and the support and cooperation also of his parents, he has been able to accomplish more in the production of photoplays than any other of his age.\n\nWe are inclined in this connection to take in considerable territory- and still believe we are correct.\n\"Ritual of the Dead\" is an old-fashioned thriller. The leading characters are:\n\nYoung man who murders - \"Ritual of the Dead\" (16mm. black and white) by James A. Sherlock, Sydney, Australia.\n\nBest Photography - \"Vida Pacoima\" (8mm. Color) by Randolph B. Clardy, Los Angeles.\n\nBest Color - \"Beyond Manila\" (16mm. Color) by W. G. Hahn, Baguio, Mt. Province, Philippine Islands.\n\nScenario - \"Ritual of the Dead\" (16mm. black and white) by Richard H. Lyford, Glendale, Calif.\n\nScenic - \"Hot Water\" (8mm. Color) by Earl Cochran, Colorado Springs, Colorado.\n\nDocumentary - \"Chicago the Vacation Center of the Nation\" (16mm. Color) by Theodore D. Shaw, Chicago.\n\nHome Movie - \"Santa Visits Elaine\" (16mm. Color) by John E. Pohl, Cicero, Ill.\n\nSpecial Award - \"Jello Again\" (16mm. Color) by Carl Anderson, Los Angeles.\nThe American Cinematographer, January 1939: A mummy accuses a murderer after he believes he has escaped detection, carrying a real thrill in the denouement. This is the first use of sound in the seven contests of the series. There will be more, worthwhile if well done, as making them brings plenty of grief. (From one who saw it in silent and sound form)\n\"Young producer Earl Cochran of Colorado Springs created a 375-foot 8mm Kodachrome film titled \"Hot Water.\" The subject matter explores geysers in detail. Despite having only made motion pictures for a year and a half, Cochran demonstrates potential for exceptional work with more experience in addressing exposure and color issues. He utilized filters such as Kodachrome haze, K-2, A, and Pola-screen. The impressive photography is enhanced by meticulously drawn diagrams explaining the geothermal processes.\"\n\"Chicago, the Vacation Center of the Nation,\" a Documentary class winner, was photographed in 16mm color by Theodore D. Shaw of Chicago's Metro Movie Club. Shaw, who has been making movies for eight years, accomplished this without filters or other effects. The film provides an excellent portrayal of life in a big town, starting with Chicago at sunrise. It might be difficult to name a city with such a varied background in its lake, river, and bridges. Educational authorities seeking authentic portrayals of metropolitan life could not go wrong with this fine picture of Chicago. The subject rates highly.\n\"Santa Visits Elaine, 16mm, color, John E. Pohl, Cicero, Ill. - winner in home movies class.\nJames A. Sherlock Honorable Mention\nScenario\n- The Phantom of Suicide Gulch, 8mm, b&w, Earl Cochran, Colorado Springs.\n- Pagliacci, 16mm, b&w, William S. Mehring, Appleton, Wis.\n- Dangerous Border, 16mm, b&w, James H. McCarthy, Los Angeles.\n- Aftermath, 8mm, b&w, A. B. Callow, Compton, Cal.\nScenic\n- Alaskan Cyclorama, 16mm, color, R. C. Denny, Fresno, Cal.\n- Midsummer Night's Dream, 8mm, color, John E. Walter, Los Angeles.\n- The Great Roaring Waters of Niagara, 8mm, color, Joseph F. Hollywood, New York.\nPhotography\n- Still Waters, 16mm, color, Fred C. Ells, Yokohama.\n- Rancho Paicines, 16mm, b&w, Henry L. Washburn, Santa Cruz, Cal.\n- Autumn Around Fuji, 16mm, b&w.\"\n[16mm., \"Summer in Switzerland\", G. L. Rohdenburg, New York, color documentary]\n[16mm., \"The Milkman, Our Community Helper\", Eugene H. Herrington, Denver, color documentary]\n[16mm., \"Still Waters\", Fred C. Ells, Yokohama, Japan, color documentary]\n[8mm., \"Happy Farm Woman\", George Oliver Smith, Weiser, Idaho, color home movie]\n[8mm., \"Growers\u2019 Friends and Foes\", Harold Warner, Santa Ana, Cal, color home movie]\n[16mm., \"Shadow's Bones\", Frank E. Gunnell, West New Brighton, b&w home movie]\n[8mm., \"The Honeymoon Is Over\", W. T. O'Dogherty, San Francisco, b&w home movie]\n[16mm., \"Night Before Christmas\", Joseph F. Hollywood, New York, color home movie]\n\nThis finely done picture greets you with an unusually strong title when it flashes upon the screen. No filters are used. Few characters appear in the story; Elaine and her mother carry the greater burden of the cast. To be sure, Santa Claus makes an appearance.\nElaine appears in the spotlight for a moment, long enough for a bit of tree and interior decorating. Elaine seems a little large to accept all the conversation given to children about Santa Claus's comings and goings, but the young lady does or is made to do one good deed. This may indicate one of two things: Either she is determined to entertain Santa while he is in the house, or she has information on the habits of the male person in her mind planned for the hanging. She prominently places a bottle of beer and a large glass where the visitor cannot miss it. Does he miss it? No, he does not. Despite the obstacle presented by the fake mustaches, he manages to get around them.\n\nThe subject had a reasonably clear field, with the exception of \"Shadow's\" interference.\n\"Bones\" by Frank E. Gunnell of West New Brighton, NY required an extra session and a special committee. Special Award\" Jello Again,\" a 16mm. subject in Kodachrome by Carl Anderson of Los Angeles, is 150 feet in length and received a special award from the judges due to its unusual character. It is a cartoon, a novelty in an amateur contest. Smoothly done, especially considering the stiff medium in which he worked.\n\nAt the picture's completion, the photographer had spent nine months or more.\n\nJanuary, 1939 American Cinematographer 17\n\nPhotographic Honors\nBy George Blaisdell\n\nJoseph Ruttenberg, A.S.C., won the photographic honors in the Hollywood Reporter's poll.\nNovember. The picture was \"The Great Waltz,\" an M.G.M. production. It was the third consecutive month in which a subject from that studio took the larger honors - that is, was tabbed as the best production of the month.\n\nIt had to be the best production of the month because of the firsts it took along. Not only was it awarded the best photographer. The poll declared it had the best director, Julien Duvivier; the best actress, Miliza Korjus; best incident performance, Christian Rub; best screenplay, Samuel Hofstenstein and Walter Reisch; best musical score, Dmitri Tiomkin.\n\nIt was Joe Ruttenberg's good fortune to be assigned to a picture destined to be so successful. \"The Great Waltz\" would have been a good picture even without the presence of the glamorous creature who took the part sustained by\nMiliza Korjus. With the glorious song doing her part, the work of all other factors was lifted to their own best levels. It is continually impressed upon us there is no royal road to success; that work well done is not an accident; that behind a success there are hundreds of days of hard work, of close application, of thousands of hours in unnoted apprenticeship.\n\nCan Chuckle Now\n\nJoe Ruttenberg has been through that. He can talk about it now with a chuckle, although there were times in his earlier days when a chuckle was far from being exactly uppermost in his thoughts.\n\nThe photographer of \u201cThe Great Waltz\u201d first saw the light in Eastern New England, in Lynn, Mass. As it happened to be the same town in which this reporter was raised, there was a moment or two devoted in the conversation to that shoe town.\nThe future cinematographer slid out of the town when he was six years old and moved a few miles to Chelsea. Ruttenberg's first employment was on the Boston American as a copy boy. It was a fulfillment of a secret ambition \u2014 to work on a newspaper. His pay was $3 a week. That sum must have been a standard rate for cubs in New England print shops, for it squared with the break-in pay received by another lad many years earlier a half dozen miles north of Boston.\n\nHe liked newspaper work.\n\nHis joy in his new employment was short-lived. A tip from the clerk of one of the editors came to him one morning that owing to a surplus in copy boys, some were being laid off, and he was slated to be let go at 3 o'clock that afternoon. Bitterly disappointed, the lad put wings to his feet before 3 o'clock. At that time, word was conveyed to him that not only had he been spared, but that he would be promoted to the position of messenger boy.\nThe boss changed his mind about firing him. He was to get a fifty-cent raise. For a year or more, Ruttenberg ran copy from the city room to the composing room. He went out on assignments to help photographers carry their equipment, went to ball games to bring in copy, to court rooms on a similar errand. He liked the work. When word came to him that he was due for a promotion and was asked in which department he preferred to be placed, he promptly replied: \"In the photographic department.\"\n\nSome time before he was lifted into the camera room, one of the staff men, in arranging for a flashlight, had lost an eye. The order went out: no more flashlights on the paper\u2014regardless of circumstances. A week after Joe's elevation to a camera toting job, there was a disastrous train wreck near Boston. At the time of its occurrence, he was in the camera room.\nJoe was alone in the room, the others being out on assignment. It was in the evening, so Joe began arranging for flashlights and powder. Immediately, there were protests from the others. The editor stood for the rule. Finally, the young photographer threw his flashlight on the table and said he would go out and get some pictures without flashes. How he was going to do it was beyond the ken of his fellows.\n\nAt the scene of the wreck, the lad hung close to those preparing to cut loose a flash. He got the picture at the same time his competitor did. He did it repeatedly until he had secured a goodly number of shots. He hurried back to the office.\n\nTo his dismay, he discovered there were no other photographers on duty in the office \u2013 and he had only been on the job for a week.\n\nJanuary, 1939 \u2022 American Cinematographer 19\nThere was no alternative. He must do it - and with those super-precious negatives. The city editor stood behind him as he pulled the first negatives out of the soup. As he saw the contents of one picture, he danced. \"How did you get it?\" he demanded.\n\nBut the negatives were good. There were enough of them to make a page, with the photographer's name prominently displayed. There was a bonus for it, too. The new staff photographer was off to a good start.\n\nThere was another adventure later on, one that also, incidentally, had to do with that dangerous flashlight. The photographer of \"The Great Waltz\" remarks in passing that the men of today do not realize what a blessing the present photoflashes are.\n\nA murder had been committed. The torso had been found - and nothing more. The police were stumped. Then one night\nA city editor received a tip that a crew member on a ship anchored in the bay had found a suitcase with a hand and arm bearing a signet ring inside. The editor sent Joe with equipment to take a picture of the scene. In a boat with an assistant, they rowed out. The bay was as dark as the inside of a cow. After setting off a flash, there was an unusually heavy explosion, but no apparent damage.\n\nHowever, as they moved towards shore, they noticed an increasing amount of water in the boat. They realized they had blown a hole in the bottom and were sinking. At the same time, the staff photographer, who was a poor swimmer, also came to this realization.\nThere was nothing to the picture but to pull for the shore - and pull hard. The two of them managed it, although it was a call too close, much too close, for comfort. But it was a good picture.\n\nAnother instance looked much like thirty days in jail. A tong war was on in Boston - and those who have lived in cities where such feuds thrive know they are bad medicine for any neighborhood. Wholesale arrests had been made, with the two factions herded into cages. Yes, and care was taken that no man was put into the wrong cage.\n\nThe presiding justice was a hard-boiled Federal, and his instructions were strict at all times that there were to be no pictures in the court room. Joe and his partner were in court early. As the Chinamen were brought in and stowed in the cages, the two men prepared to.\nThe judge had not arrived. Joe had quickly laid his plans, and his assistant had been told to grab the tripod and run to one exit, while Joe, with his equipment, took to another, in case the judge entered. Suddenly, the judge did just that, even as the exposure was being made. He saw the tripod and camera going through one doorway and the rest of the equipment through another.\n\n\"Stop those men!\" he shouted. \"Arrest them and bring them back here!\"\n\nBut the two were through the doors and tearing up the street toward the American office. To the inquiries of pursuing but friendly policemen there were returned replies that hardly could be relied on. When Joe arrived at the office out of breath, the city editor was waiting for him.\n\n\"Too bad, Joe,\" said the latter. \"But the judge has just phoned me that if that picture is printed, you will go to jail.\"\nA man was sent to jail for contempt. He may decide to send you there as well.\n\n\"Well,\" remarked the staff photographer, \"he can't do anything to me for printing it, anyway.\"\n\nThe negative was developed and printed, revealing a rare picture showing the faces of scores of thoroughly frightened Chinese men. The regular court reporter returned to the office and saw the photograph.\n\n\"Let me have that picture,\" he remarked. \"I'm going to show it to the judge. I have an idea we may use that yet.\"\n\nThe judge looked long and hard at Joe's picture. \"That's a pip of a shot,\" he admitted. \"I'll tell you what I'll do with you boys,\" he added deliberately. \"You get me a big enlargement of that picture for my chambers here, and you may print the shot.\"\n\n\"That will be quite easy, your Honor,\" said the reporter as he grabbed the telephone.\n\nEight Years on Paper\nFor eight years, Ruttenberg worked on the Boston American. Then he was tempted to accept an offer from the Boston opera company to join as staff photographer. One of his first assignments was to accompany the troupe to Paris. Upon his return from abroad, he became interested in motion pictures. His initial effort in this new direction was the inauguration of a New England news reel, for which he supplied 1000 feet a week for the Loew theatres in Eastern New England. For this work, he built his own developing plant.\n\nRuttenberg was drawn away from the news reel by an offer to join the Fox Film Corporation in New York. Here he remained ten years. One of the pictures he photographed during this long affiliation was the famous \"Over the Hill,\" in which Mary Carr became famous. Another picture was Hutchinson's \"If Winter Comes.\" For exteriors of this film.\nHe journeyed to Canterbury, England, where a majority of the shots were made. A few were also exposed around London. Then, the formation of a screen test plant ensued, in which it was his idea to take screen tests of competent stage players and submit them to the studios. In the short time he was operating this studio, he made tests among others of Claudette Colbert, Sylvia Sidney, Margaret Sullavan, Helen Hayes, Paul Muni, and Walter Huston. In Hollywood, three and a half years ago Ruttenberg came to Hollywood. He made one picture, \u201cThe Manhunt,\u201d for Warners. Then he went to M-G-M, where incidentally he had never worked before \u2014 and where he has worked exclusively since. Among some of the pictures he has made there are \u201cThree Godfathers,\u201d \u201cFury,\u201d \u201cPiccadilly Jim,\u201d \u201cDay at the Races\u201d with Marx Brothers, \u201cThree\u201d\nComrades and Shopworn Angel.\n\nThe cameraman was asked the location of the Vienna woods in \"The Great Waltz.\" He smiled. \"That was a pretty location, wasn't it?\" he answered. Although literally the country over was hunted to find such a place, it was eventually spotted within forty miles of Hollywood.\n\nAsked if he had any preference between interiors and exteriors, the cameraman replied that in interiors, light was more easily controlled. He expressed the opinion that with the fast film now available, better results would be secured on medium shot exteriors and close-ups by making them interiors, so long as there were no panoramas.\n\nHe cited the instance of \"Three Comrades,\" wherein the very nature of the panorama of great mountains of snow made work with the camera practically impossible. Here he pointed out.\nThe proper scenery resulted in realistic outcomes. The cinematographer expressed his gratitude for the cooperative assistance from his crew: Herbert Fischer, operative camera man; R. King Kauffman Junior, assistant; Paul Keeler, gaffer; and Leo Monion, grip.\n\nVictor Price Reductions\n\nVictor Animatograph Corporation, Davenport, Iowa, announced substantial price reductions on 16mm silent projectors.\n\nThe Model 11 Master Projector, previously priced at $148 with case, now costs $125 with the case included. For a 750 watt lamp and fast F1.6 lens instead of the standard 500 watt lamp and F1.85 lens, the price is $132.50.\n\nThe Victor Model 22 (1600 foot film capacity) has been reduced from $187.50 to $175. This is a \"blimp\" model, which operates enclosed in a case.\nStandard equipment includes a 750 watt lamp and 2-inch F1.85 lens.\n\nBy Robert W. Teorey, January 1939, American Cinematographer\n\nStills\nMM.\nFilm\n\nRaised from 8mm film was this still of Tokyo schoolboys in military uniform. An achievement worthy of every moviemaker is the building of a contrivance to enlarge still prints from their moving picture scenes. Not only can the pictures be added quite creditably to the family album, but they can be put to a valuable use in cinematography \u2013 for title backgrounds that actually tie in with the scenes described and to which related scenes work admirably.\n\nThe old saying that necessity is the mother of invention is one with which I heartily concur. Recently desiring several 8mm enlargements, I sought someone to make them for me. Failing in my efforts, I decided to make the enlarger myself.\nIn contriving my enlarger, the first consideration was a method to project an image onto ordinary roll film to produce negatives. Experimentation with photoflood bulbs and various magnifying objectives convinced me that my movie projector would be the quickest and most satisfactory medium if I could adapt it to projecting a still picture without the film burning as soon as the heat screen was opened to permit a clear passage of the light beam. I discovered the solution at the very beginning by removing the condenser lens. Inserting a length of 8mm film into the projector gate, I next disconnected the spring belt from the motor to the claw operating mechanism to prevent it from advancing the film during the exposure.\nVent the film from being actuated and then raised the heat screen within the lamp house with a piece of fine wire. The lamp and the motor, which now only operated the cooling fan, were switched on, and a brilliant image from the test strip of movie film was projected for several minutes with no apparent harm to the emulsion. Projection difficulties having been eliminated, the next decision to be made was the size of the picture to record. I quickly accomplished this by projecting a picture on a near wall and moving the projector forward until I had secured an image slightly less than roll film size 116. I estimated this would provide me with a negative approximately 22 by 3V2 inches in size, which I deemed about right considering the great amount of magnification necessary to produce a negative of that dimension from an 8mm frame.\nMeasuring from the wall to the lens of the Eastman Model 50 projector, I found the distance to be slightly less than 18 inches. This figure served as the basis for the construction of my 8mm enlarger. The description of this contrivance will be merely general and not deal with actual measurements as various projectors, 8mm as well as 16mm, would necessarily require variations in the dimensions of the segments used in building a similarly operating device.\n\nProject construction:\nBaseboard and uprights were sawed from a long piece of pine lumber three-quarters of an inch thick by 12 inches wide. The base had sufficient length for mounting the projector on one end and attaching the film holding upright to the other at the distance from the lens previously figured to give me the size negative desired.\n\nThe height of the end upright was determined by...\nI. Projecting the Image:\n\nI determined the position by placing the projector and holding the standard at the opposite end of the base. After this, I projected a still picture, which I carefully centered with the framing device. I then outlined the illuminated area with a lead pencil, allowing a three-quarter inch margin at the top for the upper cross piece of the film holder.\n\nFigure 1: Enlarger, complete and ready for operation\nFigure 2: Shielding tube and shutter removed\n\nII. Preparing for Exposure:\n\nLeft, Figure 3, end upright with film holder lowering for loading.\nRight, Figure 4, Shutter upright and shutter in place for exposure.\n\nI secured the upright and attached it to the end of the base (Fig. 3). The roll film holder was cut from a piece of soft wood, three-quarters of an inch thick by 1 1/2 inches wide.\nThe finished frame consisted of an H-shaped design with two cross bars. The area between the bars measured 2.5 inches by 3.3 inches, the size of the negative to be exposed. The margin at each end provided sufficient room for the full roll and take-up spool. The two uprights in the frame were slightly longer than a 116 film spool and were inset about an eighth of an inch to allow space for the film and for thicknesses of cardboard secured to the frame holder to act as a pressure plate. The frame was next drilled at the film spool locations to accommodate cut-off nails or bolts, which served to hold the spools in place.\n\nThe threaded end of a large bolt with a knurled top was filed flat to enter the slot of the take-up spool, making it quite simple to wind the exposed film onto the empty spool.\nTwo small hinges on the bottom of the frame served to fasten it in place on the end upright, while a catch or hook at the top held it secure and facilitated opening the assembly for loading with film. Next, placing the projector in position on the base, I switched on the lamp and carefully aligned the image within the film holder. When centered to my satisfaction, I nailed strips of wood snugly about the projector base to assure identical alignment each time the device is used.\n\nThe shutter upright (Fig. 4) is of the same height as the film standard. An oblong aperture was cut in it with a scroll saw just opposite the projector lens and large enough to permit unobstructed passage of the projected image.\n\nHeavy cardboard served as the material for the shutter and means to hold it in place. The shutter was cut amply large.\nTwo layers of cardboard held the shutter in place at the top and bottom. The oblong drawn in ink on the left surface of the shutter served as a framing guide for each new scene in the projector gate.\n\nTo exclude stray light, I covered the opening in the forward upright and the adjacent area to the slot in the shutter, as well as the area within the film holding frame, with India ink.\n\nStrips of cardboard were tacked on to the carrier and around the rear upright.\nRight to exclude stray light from the lamp housing. To prevent light from this source from fogging my negative during projection, I made a tube from cardboard which could be slipped over the lens.\n\nLeft: Hula girls interpreted native legends in Honolulu. Right: Every Chinese appears to be a burden bearer in Shanghai. Raised from 8mm film by winter.\n\n22 American Cinematographer \u2022 January, 1939\n\nNever before have new negative materials been as enthusiastically received and quickly put to use as Eastman\u2019s three latest motion picture films. Fast, fine-grained Plus-X, for general studio work... high-speed Super-XX, for all difficult exposures... ultra-fine-grained Background-X, for backgrounds and all-round exterior work... Typically Eastman in uniformity and photographic quality, these films have been accepted instantly.\nEastman Kodak Co., Rochester, NY (J.E. Brulatour, Inc., Distributors, Fort Lee, Chicago, Hollywood).\n\nEASTMAN Plus-X... Super-XX. . . Background-X\n\nJanuary, 1939 * American Cinematographer * 23\n\nSeveral factors contribute to making this picture of Warner Brothers\u2019 ace camera men an unusual photograph: Among these are the fact that in these ten new Studio Model Mitchell cameras rides one hundred thousand dollars worth of equipment, believed to be the most modern aggregation of cameras in the world; that it is a rare occasion indeed when eleven directors of photography can be assembled in any one group in any studio \u2014 there are bound to be too many tied up either on a stage or away on location. Even this notable group is not a complete roster of the studio contract list.\nBut here are those who are present: Front row, left to right: E. B. McGreal, camera and still department head; Charles Rosher, A.S.C.; Ted Mc Cord, A.S.C.; Arthur Edeson, A.S.C.; James Wong Howe, A.S.C.; Sol Polito, A.S.C.; Bun Hassan, A.S.C., special effects department head. Rear row, left to right: Sid Hickox, A.S.C.; Warren Lynch, A.S.C.; Arthur Todd, A.S.C.; Lou O\u2019Connell, A.S.C.; Ernie Haller, A.S.C.\n\nThe excellent photograph was the work of Clifton L. King.\n\nJanuary, 1939 \u2022 American Cinematographer 25\n\nThe Garden setting: featured players Frank Biggs and Betty Warner are shown with Cliff West, Joan Biggs and Winifred Collins. This setting, with its genuine water pond and fountain, was constructed in the studio. Foreground miniatures were used.\n\nAt work on a shot on the Cottage Bedroom setting. Matthews (camera), Ben Carleton (Director) standing at\nM. Fowler, played by Frank Biggs and Betty Warner, is seated on a dolly in the settings. The tripod and dolly were specifically constructed to the design of Ace Movies' cameraman, J. Matthews.\n\nAce Movies of England\nMaking \"The Miracle\"\n\nWe have received from S.J. Matthews, honorary secretary of Ace Movies of Wimbledon, England, an amateur organization founded in 1929, the accompanying stills showing the cast and crew at work on \u201cThe Miracle.\u201d Mr. Matthews notes in passing that the members of the club are looking forward with much interest to seeing Hollywood\u2019s professional version of \u201cThe Miracle,\u201d featuring Bette Davis, when it is released in England.\n\nUnquestionably, there will be marked interest among amateurs everywhere in the tripod and dolly specially constructed to the design of the club\u2019s cameraman, J. Matthews.\nThere will be abundant interest in the sets and lighting equipment, in the manifest preparedness that attends and precedes the actual shooting, and in the general motion picture atmosphere that surrounds the players. We feel entirely safe in prophesying a finished picture that will be good to look upon \u2014 and one that will be a credit to the more advanced in the craftsmanship of motion picture making.\n\nFeatured players: Betty at work building the Dining Room setting: J. Matthews (camera). Featured players: Frank Warner, Carleton (Director) and J. Swain are shown. The air compressor in the foreground is for spray painting. Bedroom set.\n\n26 American Cinematographer \u2022 January, 1939\n\nCINE-KODAK SUPER-XX\nEastman\u2019s New and Fastest Home Movie Film\n\nWith a .19 lens and Super-XX, you can make movies.\nFor example, with a .1.9 lens, you can make good close-ups indoors with two regular 50-watt light bulbs - one bulb, if in a reflector. Three 50-watt bulbs in reflectors supply sufficient illumination at .3.5. With Kodaflector, two No. 1 Mazda Photo floods 14 feet from the subject provide ample light for filming at .3.5.\n\nWhen lighting is not controlled, the extreme speed of Cine-Kodak Super-XX is even more valuable. You can shoot indoor wrestling matches, hockey games, skating exhibitions, basketball games, stage shows - some with telephotos or in slow motion. Outdoors, you can make movies much earlier and later in the day ... on dark winter days ... on cloudy and rainy days. If the sun is bright, however, a neutral density filter (N.D.2) is necessary.\nTo prevent extreme overexposure, a filter with a factor of 4x is required over the lens for Super-XX. This filter reduces Super-XX to the equivalent of regular \"Pan,\" allowing the exposure guide on the front of each Cine-Kodak film to be followed.\n\nLoad your camera with Cine-Kodak Super-XX and create movies that you've never been able to get before. The cost is the same as \"SS Pan\"; full exposure instructions are included with the film. Prices: 50-foot rolls, $4; 100-foot rolls, $7.50; 50-foot magazines and packettes, $4.25. Prices include processing.\n\nFor indoor movies in color:\nUse Cine-Kodak Kodachrome Type A. It is remarkably fast, and you can easily achieve wonderful results with Kodaflector, Eastman's $5 featherweight lighting unit. Type A Kodachrome is expressly color-balanced to give true color reproduction when used with Photoflood light and can be used outdoors in the day.\nTime with Type A Kodachrome Filter for Daylight. Prices: for Cine-Kodak Eight, $5.75; for 16 mm. cameras, 50-foot rolls, $4.75; 50-foot magazines and packettes, $5; 100-foot rolls, $9 \u2014 including processing.\n\nThe subjects shown above are typical of the scenes now easy to film \u2014 with the extreme speed of Cine-Kodak Super-XX.\n\nIf yours is a 16 mm. camera, this new Eastman super-speed film will more than double your picture-making range. Over four times as fast as regular Cine-Kodak \u201cPan\u201d \u2026 more than twice as fast as Cine-Kodak Super Sensitive Pan, Cine-Kodak Super-XX makes an f/3.5 lens the equivalent of an f/1.9 with regular \u201cPan.\u201d And, with Eastman Kodak Company, Rochester, NY.\n\nJanuary, 1939 \u2022 American Cinematographer 27\n\nFrosty Film\u2122 (Continued from Page 1U)\n\nThe snowshoer, walking in and out of scenes, provides a thread on which to\u2026\nhangs for continuity. Occasionally, he may pause to rest and look out over the surrounding hills. From close-ups of such winter scenes, jump to long shots of other winter scenes you may have collected, returning to the snowshoeer once more as he hits the trail. For a rustic main title introducing such a film, lay out jigsawed block letters on a pair of snowshoes, or tack the letters on a log background. The use of kodachrome instead of monochrome film will add immeasurably to the beauty of such scenes.\n\nIf your locality permits ice angling, you will find that this winter sport will present more camera fun than all of your brook trout or musky fishing expeditions. You might open such a film with close-ups of chips flying as the chisel bites the ice.\n\nComes the first gurgle of lake water, and finally the hole is skimmed clean. To reveal an extreme close-up of hooking a fish.\nMount the camera on a lively minnow and shoot with the title card holder flush against the scene on the cine titler. The auxiliary lens of the titler provides many startling close-ups. Some amateurs use the titler more for this purpose than for titling itself.\n\nYou will want close-ups of some of the odd-shaped, homemade fishing sticks and other unusual angling paraphernalia carried by these \"frozen fishermen.\"\n\nTo maintain continuity, film fishermen walking out on the ice, hopeful and anxious, while others, leaving, look down-trodden and sad, but still hoping that new waters will produce better luck.\n\nThe winter angler provides excellent material for a cinematic character study, the sort of thing which few amateurs have ever attempted.\n\nThe rabbit hunt and the deer chase rank high among action footage.\nFilming snow tracks of small game and bird life is a pleasant diversion from winter shooting. A heavy filter and a low hanging sun to shadow depressions are essential for properly recording wildlife footprints. If you really want to match wits with animal cunning, follow a fur trapper with your camera as he sets out on his line. An 8mm. or 16mm. winter trapping film, showing methods of taking mink, muskrat, skunk or otter, would be both educational and entertaining. How many amateur cinematographers of your acquaintance have ever attempted such a thing? Cold weather filming calls for greater care of camera equipment than in summer months. Beware of Temperatures. Don't subject film or camera to extreme temperatures. Keep your camera in a fairly warm place. If you leave it unattended, it may freeze and be damaged.\nOutdoors for any length of time, even overnight, chances are that its operation will be impaired by the chilling it receives. If a cold camera is brought into a heated room, it will frost and \"perspire,\" and no filming should be attempted until the motor is running normally and the foggy lens has cleared. If you carry your camera without benefit of a case, tuck it under your warm jacket when not in use, and cup the palm of your hand over the lens to keep out the snow during the flurries. Outdoor snow movies at night take on added charm when lit with photoflood or flare. To prevent flare light from hitting the lens, use a half-moon shaped reflector on last year's tripod, or place the flare itself behind and to one side of the camera stand. For striking silhouettes, place your skiing subjects at night on the crest of a hill.\nTake a camera and position it on a snow-topped hill. On the left, look for wild animal or bird footprints in the snow for excellent movie studies. On the right, follow up your outdoor sports action with indoor cabin shots under photoflood illumination. Place the camera halfway down the slope on one side. On the other slope, hidden from the camera lens, strike off a flare. The backlit figures in motion will probably become one of your most treasured sequences.\n\nIf you lean toward artistic lines, try backlit shots of snow crystals on window panes or weird shadows on the snow at night. Branches frosted with fresh snow or heavy with frozen sleet, as well as oddly formed icicles, make excellent subjects silhouetted against a well-filtered sky.\n\nBureau of Mines Produces Four Educational Pictures\nThe story of the production of copper, one of the most widely-used metals, begins with the mining of its ore. Copper ore is found in various forms, but the most common are chalcopyrite and bornite. These ores contain copper sulfides, which must be separated from the other minerals in the ore through a process called froth flotation.\n\nFirst, the ore is crushed into small pieces and mixed with water to form a slurry. This slurry is then pumped into large tanks called flotation cells, where it is agitated to release the copper sulfides from the other minerals. Air is then introduced into the cells, causing the copper sulfides to attach to the bubbles and rise to the surface as a froth. This froth is then skimmed off and dried to produce a concentrate of copper sulfide.\n\nThe concentrate is then smelted in a furnace to produce pure copper. The furnace is heated to a temperature of around 2,500 degrees Fahrenheit, and the copper sulfide is melted and purified by adding silica and limestone. The molten copper is then poured into casting molds to produce ingots.\n\nThe ingots are then transported to a rolling mill, where they are rolled into thin sheets or rods. These sheets or rods are then used to manufacture various products, such as electrical wiring, roofing materials, and pipes.\n\nCopper is a valuable metal due to its excellent conductivity and resistance to corrosion. It is used in a wide range of applications, from electrical wiring and plumbing to roofing and construction materials. The demand for copper is expected to continue to grow in the coming years, making the mining and production of copper an important industry.\nFour new educational motion picture films reveal interesting methods and processes in mining, leaching, concentration, smelting, and refining ores. Produced under the supervision of the Bureau of Mines, Department of the Interior, in cooperation with a large mining company. The silent-type films are the latest additions to the Bureau of Mines' film library, the largest of its kind in the world.\n\n\"Copper Mining in Arizona\" is a three-reel film's title. Copies of these films, in 16mm. and 35mm. sizes, are available for exhibition by schools, churches, colleges, civic and business organizations, and others interested. Applications should be addressed to the Bureau of Mines Experiment Station, 4800 Forbes Street, Pittsburgh, Pa.\nJames A. Sherlock won the grand prize at the American Cinematographer contest for the second year in a row. The theme for both films was his home \u2013 first, Sydney in 1937, and then Australia in the present. Last year, the subject was \"The Ships of Sydney,\" showcasing various vessels from small sailing yachts to great liners. Filming began before dawn and continued through heavy fog as the sun rose.\nSubdued Sol, he photographed the fog, showing it as it nearly hid the sun and as the sun broke through, resulting in one of the most effective scenes in the subject. Three thousand feet were exposed in the 1938 film, but the final cutting was in 900 feet. The picture last year was in Kodachrome, while this year's was in black and white. \"Nation's Builders\" was to the man who produced it and to the men and women who helped make it more than just another picture. To him and to them, it was a labor of love. It was more than that. It was a labor of patriotism, for behind the men who made it was the dominating thought that for the first time in history their continent contained one nation, one people, one destiny. That their fellow-citizens in Sydney saw the picture in the same spirit is important.\nThe members of the Royal Historical Australian Society and the Ship Lovers\u2019 Society indicated their approval of the film during a showing at Science Hall before its shipment to Los Angeles for the contest. Doctor Mackness declared, \"This film should be acquired by the Government. It should be shown in all our schools.\" The Royal Historical Society bestowed its blessing on the film and promised to forward a letter to that effect to the producer.\n\nFrom a letter to the editor, the producer explained some steps in filming the production:\n\nCaptain Phillip arrives to claim the land for England.\n\nAt the beginning of 1938, Australia celebrated its 150th birthday. In early 1937, I began the pre-production phase of my film project, which focused on the arrival of Captain Phillip to claim the land for England. We filmed on location at various sites in New South Wales and Victoria, using a combination of period costumes and replicas to authentically recreate the early colonial era. The cast and crew worked tirelessly to bring this important chapter of Australian history to life on the silver screen.\nThe day was filled with decorations, processions, reviews, and fireworks, their glamour and tinsel. Newspapers devoted much space to the history of Australia, bringing home the realization that this continent now contains one Nation and one People, this happening in 150 years.\n\nWhat a subject to film for an Australian cinematographer, especially if one is interested in history and could resist the temptation of filming the decorations previously mentioned! \"Nation Builders\" is my effort to catch the breath of past pioneers.\n\nIt opens with surf rolling toward the camera. This was an early morning, back-lit shot with sunlight silvered on the waves, but filtered with a 3N5 screen.\n\nCaptain Cook was the first Englishman to land in this country, and emphasis is laid on the difference between civilization and the most primitive of peoples.\nThe aboriginal is shown crouching, watching the landing party. After the party pushes out to sea, the aboriginal is seen comparing his foot marks with those left by Captain Cook. Essential low afternoon lighting was necessary to get the texture of the sand.\n\nCook is depicted by his shoe marks, and the aboriginal's bare foot marks are also visible. The aboriginal is crouching, observing the landing party. Following the party's departure to sea, the aboriginal is shown comparing his foot marks with those left by Captain Cook. The sand's texture was effectively captured through essential low afternoon lighting.\nDuring the celebrations, this elaborate scene was filmed from a stand erected for two newsreel cameras. By great favor, my Filmo was allowed to record this historic, reenacted scene.\n\nThe stand was about 20 feet high and looked down on the set at an angle from which no onlookers could be seen. Using my turret head camera and three different lenses, a few close-ups were possible.\n\nGreat hardships were suffered by our first settlers. This is shown by a title \"Travail\" fading in at the base of three trees and more breakers, this time in a turbulent mood. The first successful farming was done by one James Ruse. A replica of his plough was copied from one in our Museum.\n\nA hole dug in the ground permitted a few intimate close-ups as the horse, ploughman, and plough came near the camera. For this and several later scenes.\nsceens  I  am  indebted  to  the  farm  mana\u00ac \nger  of  the  Hawkesbury  Agricultural \nCollege  and  his  pupils.  The  farmer  and \nmost  other  characters  were  chosen  be\u00ac \ncause  they  were  types. \nInstruments  Authentic \nThe  letter  written  by  Governor  Phil\u00ac \nlip  was  copied  from  the  original.  \u201cGov\u00ac \nernor  Macquarie \u2014 Road  Builder\u201d  .  .  . \nThis  sequence  was  filmed  in  two  parts. \nThe  first  shows  an  early  surveyor,  a \nconvict  and  the  Governor.  An  old  the\u00ac \nodolite,  dated  1810,  was  borrowed;  Gov\u00ac \nernor  Macquarie  enters  the  scene,  talks \nto  the  surveyor,  who  points  to  the  road \nbuilders. \nThe  second  part  is  cut  in  here.  A \nroad  was  being  built  and  it  was  not  diffi\u00ac \ncult  to  borrow  a  few  tools  and  put  some \nof  my  friends  to  work  in  the  foreground \nas  I  used  close-ups  of  them. \nThe  bridge  building  scene  is  one  where \nan  old  bridge  was  being  demolished. \nThe  ganger  allowed  his  men  to  spend  a \nThe first exploration party was filmed at a few spots on the actual path where the Blue mountains were crossed. Costumes used in this and throughout the picture are authentic. Even the convicts' costumes were studied, and it was found that only a very small percentage were clad in suits marked by broad arrows.\n\nAggy College Men\n\nThe map used in the film was of black felt, cut after the manner of a jigsaw, and placed over a relief map. Thanks to the rich blackness of 16mm panchromatic film, the joints are not visible. The scrolls showing the explorers' names were made in two pieces, one part painted on the base, and at each alteration of name, a new piece was placed in position.\n\nThe cavalcade of sheep men was filmed with the help of the students of Hawkesbury Agricultural College.\nAnd their very good manager. Covered wagons were the exceptions to the rule here in Australia. William Charles Wentworth\u2019s garden party was part of our 150th Celebrations. This was filmed from a high elevation to again exclude onlookers. The great war period was difficult to portray. This is shown by close-ups of actual newspapers printed at this period. A G filter was used to lighten the aged paper and I was fortunate in getting permission to film this in the studio of the Sydney Sun office. Twenty-five thousand candle power of light was employed, which allowed me to use a heavy filter and close the lens down. The return of our nation to peace is shown by the building of a dam and the interior of a steel works. A detailed sheep shearing sequence has been added and the film finishes on aspects of City Life. Kodak Panchromatic film was used.\nHargraves, Lister, and Tom discovered gold. Governor Macquarie assisted in color values and retakes, which were impossible in most cases. Members of the Australian Amateur Cine Society provided great assistance.\n\nThe stills included are from the graphlex camera of Eric Merton, a member of our Cine Society.\n\nDurst in Hollywood recognized the importance of the program being sponsored by the studios in connection with the general improvement of sound reproduction and picture projection. The International Projector has assigned Jack Durst as its factory representative in Hollywood.\n\nDurst has been identified directly with the development of the new Simplex Four-Star Sound Equipment. Durst will cooperate with the various Academy Technical Committees in the interest of carrying through the equipment.\nThe design of features and facilities ensuring better presentation of sound and pictures in the theatre. Surveyor in the period of Governor Macquarie. 30 American Cinematographer \u2022 January, 1939\n\nTelco Begins Production\nBy IRA B. Hoke\n\nAs dramatic in its inception and replete with thrilling incidents in its growth from a dream to a reality is the story of Telco, Hollywood's newest natural color producing laboratory.\n\nFrom Hollywood to New York, then to Florida, and finally to Hollywood again, the scenes of Telco's progress were rapidly shifted under the master hand of Robert Hoyt, former Massachusetts Institute of Technology student and later a Hollywood picture producer, until today they present not only a drama of business achievement, but the company's first processing of a feature-length film.\nRobert Hoyt, an established moving picture producer and technician in Hollywood, serves as president and general manager of Telco. Dr. Albert Fiedler leads the laboratory staff. An old friend of Hoyt's and laboratory supervisor on many of his productions, Fiedler is a graduate of Columbia University's chemistry school and earned his doctorate from the University of Berlin. His entire career has focused on motion picture raw stock and laboratory work. Telco derives its name from a contraction of \"telescopic color,\" aptly describing the remarkable process. All other members of Hoyt's film technician and office executive staff were selected for their specific fitness and adaptability to their roles.\nResults now on the screen under that trademark. Telescopic, or stereoscopic, to a surprising degree are the scenes of Telco\u2019s feature picture, \u201cLure of the Wasteland.\u201d Because of an absolutely fringeless black and white still from \u201cLitre of the Wasteland,\u201d the first color-production by Telco, the scene of this natural bridge is the Kanab bluffs in Utah. Sharp focus, from foreground to background, the many color tones of this process give the observer the maximum perspective and illusion of reality. While technically Telco is a two-color process, using any standard bipack negative stock, the printing process shows not only an astonishing range of color tones but definite blacks and whites as well.\n\nCompact Laboratory\nTelco prints on standard double coated positive using a specially designed printer. The processing is done in-house.\nThe completely printable material is produced by mechanically controlled methods, and it claims that no variation from one print to another is possible. The laboratory at 1257 North La Brea avenue is remarkable for its compactness. Capable of printing and processing from 15,000 to 20,000 feet a day, it owes its small size to a principle quite different from accepted methods. Each step of the developing and dyeing process is carried on in thermal and mechanically controlled individual tanks, communicating with one another to form a continuous ribbon of film from the printer to the winding reels at the dryer door. These machines are insulated and sealed from the workroom and carry within themselves individual temperature controls, which, according to Telco technicians, ensure exact and efficient operation within a comparatively small area of floor space.\nThe machinery and processing tanks were built to the minutest detail by the present laboratory staff. Use any standard 35mm. camera adjusted for bipack to make negatives for Telco. Lighting of any type that gives a brilliant, well-balanced double negative provides this process with the required nucleus for its prints. Make-up of actors may be of any accepted panchromatic type. Judging from results on the screen, well-balanced flesh tones are assured.\n\nFirst Picture: Snappy\nThe company has just completed prints for a feature-length musical western under the banner of A1 Lane Pictures Inc. This picture, starring Grant Withers and directed by Harry Fraser, demonstrates the efficiency of their process and the fidelity of their color.\n\nJanuary, 1939 \u2022 American Cinematographer 31\nThe film boasts near stereoscopic separation, fast action, a catchy plot, and beautiful scenery. The exteriors were photographed in the red bluffs of Kanab, Utah, a territory rich in western legend and well-adapted to color reproduction. Faithful sound recording is due to Telco\u2019s method of printing a high-quality black and white track.\n\nThe camera crew - Francis Corby, A.S.C., supervisor of photography; James Palmer, camera operator; and Lester Shore, assistant - is responsible for a well-photographed production. However, they were sometimes forced to work under trying conditions. For instance, the Kanab bluffs became so cold during the filming of exteriors that the camera had to be heated continually to prevent the oil from congealing and stopping the mechanism.\n\nLaboratory work began on the film.\nThe new unit, designed for immediate production demands, will have detailed plans for a complete processing plant capable of producing many times the current daily footage. General Manager Hoyt believes the new laboratory will be completed soon to address the increasing demand for natural color pictures, which is growing faster than most observers realize. He states the 10 to 20 percent increase in price for Telco prints over ordinary black and white will be insignificant compared to the manifold box office values of color. No definite location for the new plant has been selected, but Telco executives plan to establish themselves in the San Fernando valley, with easy access to the major studios.\n\nGordon Head completes action portrait camera\nan amazing new photographic invention.\nThe \"action portrait camera,\" designed by Gordon Head, Paramount still photographer, was introduced to Hollywood in December. This new camera, which incorporates revolutionary principles, was used for the first time on \"Cafe Society\" for shooting pictures of Madeleine Carroll on a speeding aquaplane.\n\nSpeed is the significant advantage of the new camera - not just mere shutter speed, but speed in posing pictures and changing composition.\n\nThe flowing black cloth, familiar to everyone who has ever had their portrait taken, is abolished by a completely new type of finder. This is more significant than the layman may imagine. The following is the procedure with the ordinary portrait camera:\n\nThe photographer stops down his lens, sets his shutter. He must then line up the people in the positions in which they are to be photographed, ducking and adjusting as necessary. With the new camera, this process is expedited, allowing for more spontaneous and dynamic shots.\nThe cameraman makes repeated adjustments under his black cloth and then takes the picture again, adjusting his camera to the proper range.\n\nProcedure Simplified\n\nWhen the subjects remain absolutely still, the cameraman then inserts his plate in the camera and pulls out the slide before taking the picture. If anyone in the group moves or the camera is joggled even slightly, the picture will come out blurred due to movement or out of focus.\n\nWith the Head \"action portrait camera,\" this procedure is simplified as follows: All adjustments to the lens and shutter are made, and the plate is inserted and the slide removed. Peering through his special finder, Photographer Head poses his subjects and simultaneously adjusts for range. The moment the people are lined up as he wants them, Head snaps his picture.\n\nThe patented finder is the secret. It enables Head to see exactly what he is photographing.\nWith this new camera, it's possible for the first time to take action pictures of 8 inches by 10 inches size with the same convenience as a candid camera, yet obtaining the same high quality negative. The camera eliminates distortion as the cameraman looks through the lens instead of a series of prisms. When Head shot stills of Madeleine Carroll on an aquaplane being towed by a speedboat at 45 miles an hour, he used the fastest shutter on any camera excepting only those precision instruments in use in scientific laboratories. It is an airplane mapping camera lens, and the variable opening focal plane shutter has a speed of 1/2000 of a second.\nMounted on a tripod, the \"action portrait camera\" can be panned like a movie camera, enabling the photographer to follow rapidly moving objects. With the camera case built of durable but light airplane metal, the new instrument has the additional advantage of weighing only a fraction of the poundage found in other 8 by 10 cameras and can be carried or moved about with ease. Head has invested $5000, eighteen months of actual work, and ten years of thought into the construction of this marvel. Hollywood camera experts say it was worth it.\n\nGordon Head, at right, with his 8 by 10 speed camera he has perfected over the last ten years. Charles Lang, A.S.C., at left, looks interestedly at the mechanism.\n\n32 American Cinematographer \u2022 January, 1939\n\nArt Reeves Offers First Independent Rerecording or \u201cdubbing\u201d has long been a salient part of Hollywood filmmaking. However, Art Reeves, a pioneer in the field, has recently introduced an innovative solution for independent filmmakers: the first independent rerecording studio.\n\nReeves, a respected sound engineer, recognized the need for a more accessible and affordable option for independent filmmakers to enhance their productions with professional-quality sound. With the opening of his new studio, Reeves aims to fill this gap in the market and provide a cost-effective solution for independent filmmakers.\n\nThe studio, located in a quiet industrial area, is equipped with state-of-the-art technology and boasts a team of experienced sound engineers. Reeves's vision is to make high-quality sound recording accessible to all, regardless of budget size.\n\n\"I've seen too many talented filmmakers struggle to finish their projects due to lack of resources,\" Reeves said in a recent interview. \"With our studio, they can now focus on their creative vision without worrying about the sound quality.\"\n\nReeves's innovative approach has already gained attention from the independent film community, with several productions already scheduled to record at the studio. The future looks bright for independent filmmakers, as they now have a reliable and affordable option for enhancing their productions with professional-quality sound.\n\n\"This is a game-changer for independent filmmakers,\" said one producer. \"The cost savings and access to top-notch equipment and talent are invaluable.\"\n\nAs Reeves continues to expand his services and reach out to the independent film community, it's clear that his studio will play a significant role in shaping the future of independent filmmaking.\nThe Lydwood studio's sound technique has been a problem for many theatrical and commercial producers who rely on independently made sound apparatuses, as no independent rerecording equipment has been available. The announcement of what is believed to be the first independently made complete rerecording outfit is of considerable importance.\n\nThe new rerecorder is a product of the Art Reeves Motion Picture Equipment Company in Hollywood. It is designed to coordinate with that firm's recording system or any the user may own. The unit comprises a distributor set to power the necessary interlocking motors driving projectors, recorders, and a recorder; three rerecorders or film phonographs; an AC power panel; a main amplifier with an extended mixing panel and extended volume indicator; and interlocking motors to power two projectors.\nprojectors have one recorder and three recorders. In operation, the synchronous driving motor of the distributor is connected to any convenient AC power source. This motor in turn drives the distributor, which supplies three-phase alternating current to excite the rotors of the motors driving the rerecording equipment.\n\nElectrically Interlocked\nThe fields and various rotors are electrically interlocked, so that when the distributor rotor turns, the rotors of all motors revolve synchronously. The rerecording heads or film phonographs are constructed entirely in the Reeves plant, and are fitted with an adjustable damping mechanism to assure uniform film travel. The exciter lamp slides in and out on a demountable plastic base, and is constructed such that sliding the unit into place automatically establishes the correct electrical connections.\nFor changing or removing lamps, no wires need be connected or disconnected. The photocell pick-up is completely enclosed so that no door is necessary over the film-movement head to make threading and inspection difficult. The film used may be run between reels in closed magazines, or a supplementary fitting used to permit the use of a loop for background sound effects.\n\nFor driving this unit, a standard slip-on motor mount is fitted, so that either the synchronous motor regularly supplied may be used or any standard camera motor fitted. The opposite end of this shaft is extended beyond the housing so that a line of the machines may be connected to a single power supply to operate as a multiple battery, or any special motor may be fitted. The device may be used on the set for playback and pre-scoring uses.\n\nThe amplifying system is powered by\nan AC power panel which supplies current to all units except the driving motors, which are powered by the distributor, and the exciter lamps of the sound heads, which must be powered by direct current.\n\nOwn Monitoring System\nThe main amplifier is of the usual Reeves high-fidelity type, and fitted with its own monitoring system.\n\nThe extended mixing panel includes a four-position mixer. Two of these positions are fitted with pre-amplifiers so that they may be used for direct recording with dynamic microphones. All four positions may be used with projector pick-ups, rerecorders, and the like. All positions have complete equalization, both up and down. There are two master volume controls, and the volume indicator is of the extended type, which may be placed at a distance from the control panel, as may be desirable.\n\nBoth this unit and the extended mixing panel\nFive years ago, Armin Fried of the Fried Camera Company, located at 6156 Santa Monica Boulevard in Hollywood, found himself in the predicament described in the song, \"all dressed up with no place to go.\" For twenty-three years, he had been making a point of acquiring information, primarily about the English language and another subject.\n\nJanuary, 1939 - American Cinematographer 33\nArmin Fried admitted that mechanical engineering would have been simpler if he could have learned English in two bites instead of one. But let it be said, Armin Fried acquired his English and, once he had a simple vocabulary, he delved deeper into the supplementary or complementary division. And when the occasion arises, these supplementary words ride at the tip of his tongue.\n\nWe were speaking of five years ago. He had just resigned from his job as head of the motion picture technical department at Fox Studio. There he had done many things, as his title implied. But repairing and keeping all the cameras on the lot in up-to-the-minute order was second in importance.\nHis bent being on the side of creating, rather than re-creating or repairing someone else's equipment, he decided to go into business for himself and see what would happen. In the past five years, The Fried Company has announced itself as \"Manufacturers of complete 35mm. and 16mm. Laboratory and Photographic Equipment.\" Making good on that statement is the following list of standard designed and equipped machines: Continuous contact printers, registration step printers, 35mm. and Fried developing machine.\n\nEngineers Name: E. Allan (as 1939 President)\n\n(Note: This text appears to be mostly clean and does not require extensive cleaning. The only potential issue is the missing word before \"Name,\" which I assume is the name of the engineer being referred to. I have left it as \"Name\" in the interest of preserving the original text as much as possible.)\nE. Allan was named president of The Society of Motion Picture Engineers for 1939 at its recent convention in Detroit. He has been with the National Carbon Company for eighteen years and currently serves as manager of the Carbon sales division. Other officers elected were Nathan Levinson as executive vice president, Arthur S. Dickinson as financial vice president, John I. Crabtree as editorial vice president, and William C. Kunzmann as convention vice president. J. Frank, Jr. and L. W. Davee were re-elected secretary and treasurer, respectively. Loyd A. Jones continues in office for another year as engineering vice president, and R. E. Farnham, A. C. Hardy, and H. Griffin were elected as governors. The new executive vice president is the recording director of Warner Brothers First National Studios in Hollywood.\nLoyd A. Jones, A.S.C., is a well-known expert in Hollywood technical affairs. He is the vice president of the Academy of Motion Picture Arts and Sciences, chairman of the technicians branch, and vice chairman of the Research Council. Loyd A. Jones, engineering vice president, is an expert on the New DeVry 35mm. sound recorder of variable density type, used either in dubbing sound or in connection with the DeVry 35mm. sound camera for double system recording. He has been connected to the Eastman Kodak Company of Rochester for the past twenty-six years, serving as chief physicist since 1916. Highly recognized as an expert on photography and sensitometry, Jones has conducted research in physical optics, illumination, colorimetry, and more. He has numerous publications in scientific journals to his credit.\nJohn I. Crabtree, re-elected editorial vice president, was president of the society in 1930-1931 and has served as editorial vice president for the past five years. Mr. Crabtree was awarded the Progress Medal of the French Photographic Society in 1924 and has published many papers on photography and sensitometry.\n\nWilliam (Bill) C. Kunzmann, convention vice president, has been associated with National Carbon Company at Cleveland for thirty years. He was graduated in technical engineering from Akron College and joined the National Carbon Company\u2019s research and sales department in 1907.\n\nFrank Wilson, assistant to Secretary Roper, has explained that the Department of Commerce is not planning to establish a young Hollywood in Washington.\nThe ment of the motion picture division of the department is merely seeking to function as a good-will or industrial promotional agency within the department. The plan is in an embryonic stage. Nathan Golden, chief of the motion picture division, has assured the industry there is no thought of establishing a producing unit or a distributing organization that will in any way interfere with Hollywood. The only way in which a government agency would aim to act would be in the establishment of a bureau designed to operate for the betterment of the business. So far, the plans are that the new organization will be set up within the department for the purpose of promoting industry through a coordinated motion picture program. It will act not as a sponsor but as a medium, an outlet, for industrial motion pictures. For many years, the Bureau of Mines has produced motion pictures for educational and promotional purposes.\nIn the Department of the Interior, a participant under M.F. Leopold's guidance, the Bureau of Mines now possesses a library of films that would captivate Hollywood producers. All pictures are silent, yet their distribution is extensive, their lifespan long, and their impact significant. Industry finances the production of these industrial films, which officials of the Bureau of Mines oversee to eliminate any overt advertising signs.\n\nJanuary, 1939 \u2022 American Cinematographer 35\nBuilding Business in Five Years (Continued from Page 3A)\n\nWe have acquired pack color printers, optical printers, developing machines, and light testing machines.\n\nThe Fried continuous printers have been engineered to meet every requirement in the production of high-quality and large quantities of positive prints.\nThe Model DA or DB can apply to all printer work, including making positive prints from negatives for both sound and picture, duplication of reversal films or positive prints, and printing of 8mm film from unsplit negative of 16mm width. Upon special order, these models can be adapted exclusively for contact printing of 8mm film of the narrow split width.\n\nThe developing machines come in two types: (1) a combination 35mm and 16mm machine, and (2) one accommodating 16mm width films exclusively. These machines are available in various capacities designed to maintain a uniformly high quality of output and satisfy the requirements of commercial, industrial, and studio laboratories.\n\nThe smallest machine has a capacity of 600 feet an hour of positive film, and the largest machine a capacity of several thousand feet an hour. These models include simplified operation.\nThe machines offer completion of processing, control, and versatility. Compact construction houses all features self-contained, easy installation without special room provisions, continuous film length development without cutting, and automatic operation and control.\n\nEntirely Automatic\n\nThe machines operate entirely automatically. Film is placed on a spindle at the loading end and attached to the threaded leader. It is then automatically carried through the subsequent processing stages and the drying chamber, emerging completed. The leader is attached to the end of the last roll of film to be developed, ensuring the machine remains fully threaded when turned off.\n\nThese machines are completely motor-driven. The operating units consist of:\nThe processing system includes tanks, motor drive unit, and \"air squeegee\" compressor. There's a control air conditioning unit and film drying chamber. The processing tank unit comprises a large developing compartment, a \"stop\" bath compartment, hypo or \"fixing\" compartments, and large wash compartments.\n\nThis division of chemical baths, along with the use of air squeeges between solution compartments, ensures correct development with the least possibility of chemical depreciation due to carry over contamination. The squeeges direct a controlled downward slanting current of air against both sides of the film, retaining the solution which would otherwise be carried over into the next tank. This device is similarly employed to remove surplus water from the film before it enters the drying chamber.\n\nVaries heat and humidity are built into the drying chamber.\nmost modern and effective air conditioning unit, embodying a replaceable air filter, electrical fireproof heating units, and circulating exhaust fan. With this unit, the operator can vary the heat and humidity of the drying compartment to conform with the developing time of the film being processed.\n\nThe combination 35mm. and 16mm. models are designed for complete versatility in all processing requirements, and are capable of handling both film sizes \u2014 in positive and negative, sound and picture. In these machines, the ability to make an immediate change from one type of film to another is accomplished without any mechanical alteration or inconvenience to the operator.\n\nTwo developing tanks are employed, one of which is used for the positive developer and the other for the negative. Each of these tanks always remains individually threaded with a leader.\nThe positive and negative films are clipped to the corresponding leaders. Combination models are provided with reservoir tanks for each developing solution and special circulating pumps for continuous agitation and circulation of developer. Built-in electric heating units and automatic thermostatic and thermometer control allow for any desired elevated temperature to be accurately maintained. Electrical refrigeration is not included but can be furnished if desired. In the same five years, the Fried Company has developed a technical engineering service for clients in the design and construction of any special equipment pertaining to the motion picture industry.\n\nA Bell & Howell bulletin announces an appreciable reduction in almost all prices.\nThe more commonly used projection lamps: prices now cover 300 watt, 400 watt, 500 watt, 750 watt, and 1200 watt 100 volt lamps. Lower prices are an invitation to MUST SACRIFICE DE BRIE SUPER PARV0. New Type Ultra Silent Camera \u2014 Blimp necessary. Has built-in motor, automatic dissolve, pilot pins, and anti-buckling device. Four 1000-ft. magazines: 40 mm, 50 mm, and 75 mm. F2.3 lenses, De Brie upright finder, set of front attachments. Leather covered carrying trunk. It's the latest equipment from Camera Equipment Co. 1600 Broadway New York City. Tel. Circle 6-5080 Cable: Cinequip. Every Bell & Howell projector owner should carry a spare lamp in his projector case so that even in the event of an unexpected lamp burnout \"the show can go on.\" The same bulletin also announces 20.\nPercent price reductions on all Bell & Howell Photoflood lamps. Save Money \u2013 Buy our Film By Mail, Hollywood 16mm. Fits a minimum of 2 rolls. Non-Halation, fine grain, ample latitude. Includes machine processing, spooling, mailing. California buyers include sales tax. Hollywoodland Studios, 9320 Calif. Ave. South Gate, Calif. Plus 10c per roll handling charge.\n\nTwo reasons:\n\n1. The DeVry Model A 35mm. camera shown above has produced many thousands of feet of motion pictures ... is characterized by its versatility. Widely used by leading cameramen, explorers, and newsreel men, the \u201cModel A\u201d assures you accuracy, fineness of detail, even under most adverse conditions. Send for descriptive circular and new, low prices.\n\n2. \u201cBig Brother\u201d of the Model A.\nThe DeVry 35mm. sound camera, fully improved and modernized, has proven itself in the most exacting tests. Two-page folder gladly sent on request.\n\nDeVry Corporation\nI I I I\nArmitage Ave.\nNew York \u2022 Chicago \u2022 Hollywood\nMfr\u2019s. of Complete Lines of 16mm. and 35mm. Cameras and Projectors\n\nAmerican Cinematographer \u2022 January, 1939\n\nMoviola\nFILM EDITING EQUIPMENT\nUsed in Every Major Studio\nIllustrated literature on request\nMoviola Co.\n1451 Gordon St. Hollywood, Calif\n\nIn World's Fair Us\u00ab, O'Oocrnli^KV and in Day^im* -F*?^ Sedovs-\nDiffused F<7*-us and many other effects\n\nGeorge H. Scheibo\nORIGINATOR OF EFFECT FILTERS\n1927 West 70th St. Los Angeles Cal\n\nAstro' Lenses\nFor sale by\nMitchell Camera Corporation\n665 North Robertson Blvd.\nWest Hollywood, California\n\nAnticipating constant improvement in the resolving power.\nPower of films... fully corrected for extended spectrum color processes. Cooke Lenses are truly long-term investments. Focal lengths for every need. Descriptive literature on request.\n\nBell & Howell Company\nExclusive World Distributors of Taylor-Hobson Cooke Cine Lenses\n1848 Larchmont Avenue, Chicago\nNew York: 30 Rockefeller Plaza\nHollywood: 716 N. LaBrea Ave.\nLondon: 13-14 Great Castle St.\n\nAmpro announces two new model projectors\n\nThe Ampro Corporation, 2839 North Western Avenue, Chicago, announces two radically new and improved low-priced 16mm sound-on-film projectors, basically new in design, which will provide quality sound projection at prices well within reach of a moderate budget.\n\nWith clear, natural sound and tone\u2014speech\u2014music\u2014all sound effects are faithfully reproduced. A radical adaptation of Ampro\u2019s standard sound mechanism.\nThe Ism assures sound reproduction of a quality found in higher priced Ampro models. The screen shows exceptionally brilliant showing due to 750-1000 watt illumination. The projector is compact and easy to operate, as well as being all in one case and small and portable. It weighs only 49 pounds, including a 1600-foot reel, carrying case, accessories, and cords. Operation is so quiet that a blimp case is unnecessary. All controls are centralized on a single illuminated panel. Reel arm brackets are permanently attached and swiveled into position with no parts to set up and fasten. Simplified threading requires only a few minutes for setting up.\n\nThe new Lafayette Twin-Lite stand introduced by Wholesale Radio Service Company, Inc., 100 Sixth Avenue, New York, provides an effective solution.\nmeans for mounting lamp reflectors of the clamp-on type. Extended to full height, the tubular steel stand elevates the lamps to more than 6 feet. It telescopes to any intermediate length and when folded measures only 21 inches in overall length. The reflectors clamp on to a 20-inch cross-arm, and either one or two lamps may be used as desired. The weight of the stand is slightly over one pound.\n\nAmprosound Model X for Industry and Y for Education.\nJanuary, 1939 \u2022 American Cinematographer 37\n\nTwo Ways to Produce Sound Films of Professional Quality\n\nSound movies, known to be 100% more powerful than silent pictures, are produced on 16 mm film in either of two ways:\n\nThe Single System Method\nUsing the B-M Sound-Pro camera and associated electrical equipment, you make the sound track on the same negative with the picture. You get professional-quality results.\nThe Sound-Pro results in both picture and sound when using it. Due to its professional nature, you use it as a silent camera for shooting pictures. You record sound either at the same time or subsequently, using the B-M Model D complete recording system, which makes the sound negative on a separate film. Double system is used for over 84% of all professional work.\n\nWith either system, the use of complete Bemdt-Maurer professional 16 mm. sound-on-film recording equipment gives you consistent, economical gratifying results.\n\nFor descriptive information on the B-M Sound-Pro and Model D, write to Bulletin A-39.\n\nThe Berndt-Maurer Corp.\n117 East 24th Street \u2022 New York City\n\nNotes from the Movie Clubs\nLos Angeles 8mm. Club\nThe annual banquet and contest were held.\nHeld at the Victor Hugo Cafe, Beverly Hills, on December 10, attended by over one hundred members and guests. After dinner, retiring president C.G. Cornell introduced the club officers for 1939: Alexander Leitch, president; A. Vincent Hague, vice-president; Volney P. Burdick, secretary; Ed Pyle, treasurer. The new president stated there was only one plank in the platform for '39, a 50-foot reel to be exhibited by each member every month. Door prizes, one roll of panchromatic film each, were won by Leon C. Sprague, Volney P. Burdick, and James B. Ridge. This film is to be shot and then exhibited uncut at the February meeting. Reports of the secretary and treasurer were read, and the outgoing quartet, C.G. Cornell, president, rendered their swan song.\nJack H. Taylor, vice-president; Bion B. Vogel, secretary; and C. William Wade, Jr., treasurer. William Stull, A.S.C., gave the results of the annual contest as decided by judges from the American Society of Cinematographers. Their findings were:\n\nRobert Teorey's film, \"The Golf Widow,\" captured the first prize, a Thalhammer Tripod and pan head donated by Peterson's Camera Exchange, along with a cup given by the club.\n\nM. R. Armstrong's picture of \"The Insomniac\" won him second prize, a Bell & Howell titler donated by the J. W. Robinson Company.\n\n\"Vida Pacoima,\" by R. B. Clardy, won third prize, a $25 merchandise order from Bell & Howell.\n\nFourth prize, a $25 merchandise order donated by the Eastman Kodak Company, went to C. M. Drury for his picture \"Tree Line.\"\n\nFifth prize, a Weston Junior meter given by the Victor Animatograph Company, was awarded to an unnamed recipient.\n\"Hawaiian Revery,\" by Robert Teorey, was awarded the first prize. \"Caminos de Ayer,\" by J. K. Northrop, won the sixth prize, a \"Seemans, Inc. Editeer\" donation. A. B. Callow won the seventh prize, a $10 merchandise order from Winter, Inc. John Walter received the eighth prize, a gadget bag from the Morgan Camera Shop, for his picture \"Vacation by Proxy.\" T. C. McMurray's \"Aerophobia\" brought him the ninth prize, a zoom titler donated by the Los Angeles Camera Exchange. \"California Beautiful,\" by Leon Sprague, received the tenth prize, a two-year subscription to the American Cinematographer, donated by that magazine. R. B. Clardy won the eleventh prize, a year's subscription to \"Home Movies\" and a copy of \"Color Filters and How to Use Them,\" both donated by VerHalen Publications, for his film \"It Always Rains on Sunday.\"\nThe Horton Vacation Trophy was awarded to G. Loren Foote for his picture \"High Sierras.\" After a short intermission, the pictures winning the first four prizes and the Horton Trophy winner were run. The meeting adjourned well after 12:00.\n\nVolney P. Burdick, Secretary\nMinneapolis Cine Club\n\nFrom The Cine Clubber, Rome A. Riebeth, Editor\n\nSPECIAL INTEREST MEETINGS\nTime: The first Tuesday in each month.\nPlace: Various members\u2019 homes (to be designated).\nPurpose: Revive the interesting in-between-meetings that featured activities last year and allow members with similar problems to meet for enlightenment.\nSubjects: Sound Accompaniment; Editing and Titling, and Lighting.\n\nCarroll Davidson is taking the sound class and will hold the meetings at his home theatre. Ormal Sprungman will conduct a class in editing.\nRegistration for various groups will be held during the December 20 meeting, where further details will be provided. Classes will be limited to fifteen men each due to the limited facilities in members' homes. Philadelphia Cinema Club\n\nThe Annual Dinner of the Philadelphia Cinema Club is scheduled for February 28 at McAllister's, where all previous dinners have been held. The musical part of the program for that evening has been arranged with the cooperation of the KYW Broadcasting-Station. In line with the club's policy of dedicating the activities of this year.\nTo the late Ripley W. Bugbee, his films, particularly those taken on the trip West preceding his death, will be the highlights of that evening's entertainment. It is the desire of the club to have the cooperation of cinema clubs and camera clubs in the Philadelphia area for this gala occasion. Arrangements for tickets can be made through the office of Horace Wilson, secretary, or any of the committee members. The night promises to be one of action rather than speaking, and no principal guest speaker is being provided. Between entertainment of a high type, a musical program, a fine dinner, and Mr. Bugbee\u2019s films, it should be an occasion long to be remembered.\n\nB. N. Levene,\nPublications Committee Chairman,\nMetropolitan Cine Club,\nSt. Paul, Minn., youngest of St. Paul\u2019s\nmovie clubs held its election of officers for the ensuing year in November. The following were elected: President, John A. Bordenave; vice president, Carl O. Olson; treasurer-secretary, Harold E. Piggott. G. B. Peterson was appointed chairman of the general committee. The club is made up entirely of hobbyists, and while better moviemaking is the prime objective, sociability and good fellowship have not been neglected.\n\nNew Los Angeles Club\nThe new Photo Fellows Club has recently been organized at Woodbury College in Los Angeles. The object is to feature contests, special speakers, discussions, and demonstrations on photography.\n\nThe new officers are: President, Don Franklin; secretary, Harry White; treasurer, Ed Lancaster; and sergeant-at-arms, Lillianne Flaten.\n\nLa Casa Movie Makers of Alhambra\nMr. Farneman of the Weston Meter (sic) Company.\nThe company gave an interesting talk on the use of the exposure meter manufactured by his company at the December meeting of La Casa Movie Makers of Alhambra, California.\n\nThe finals of the Finished Film contest were run off, and the following members were chosen as winners: First, \"The Downfall of Daughter,\" an epic of the gay nineties; second, \"The Tenderfoot,\" by Mr. Moore; a scenic film of Death Valley by Mr. Korns; third, \"The Mugwumpus,\" a comic take-off on an African hunt by Mr. Oden.\n\nAs an extra event during January, the club is scheduled to make a run to Santa Barbara by streamline train by the Southern Pacific. Arrangements have been made for an opportunity to make air shots of Southern California from a plane by T.W.A.\n\nAgfa Lowers Cost of Fast Films\n\nThe popularity which has been accorded the new high-speed Agfa films.\nAgfa films has made it possible to extend worthwhile savings to the consumer in the form of several price reductions. New lower prices, effective December 1, apply to the sizes below of Superpan Press roll film, Superpan and Superpan Press film packs, 35mm. Ultra-Speed Pan miniature-camera film and 35mm. Infra-Red miniature-camera film.\n\nAll Agfa panchromatic roll films, film packs, and 35mm. miniature camera films now sell for the same amount in each size. The new prices are as follows:\n\nSuperpan Press Roll Films \u2014 A-8, 30 cents; B-2, 35 cents; PB-20, 35 cents.\n\nSuperpan Filmpacks \u2014 F-18, 31Ax41/4; Superpan Press Filmpacks \u2014 F-20, 6x9 35mm.\nUltra-Speed Panchromatic Miniature-Camera Film \u2014 15-exposure darkroom loads, 35 cents; 36-exposure Leica cartridges, $1; 36-exposure Contax.\nHarry and Harriette Parker left Los Angeles in October for a South American trip. They sent Christmas greetings from the west coast of Chile, stating they would be in Buenos Aires for Christmas dinner. The Parkers, part of the family of American cinematographers, are taking their time en route and report shooting good subjects. Well-equipped with photographic equipment, their outfit was planned based on experience gained during a world trip less than two years ago. Harry is a member of the Los Angeles Cinema Club and Harriette is:\n\n$1; 2714 ft. notched rolls D.R.L., 100 ft. unnotched rolls D.R.L., $6.\n35mm. Infra-Red Miniature Camera\nFilm \u2014 15-exposure darkroom loads, 40 cents; 36-exposure Leica cartridges, $1.20; 36-exposure Contax spools, $1.20.\nAn officer in the Hollywood Women's Club. Kodachrome duplicates are at Stith-Noble Corp., 645 North Martel Ave., Hollywood, Calif. ge enlarged 16 reduced g Geo. W. Colburn Laboratory Special Motion Picture Printing 1197 Merchandise Mart, Chicago.\n\nDuplicates:\nClear, sparkling 8mm duplicates at just 4c per foot! \u00ae 4c per finished foot with reversal & negative processing.\nComplete 8mm laboratory facilities.\n\nESO-S Pictures\n3945 Central St., Kansas City, Mo.\n\nPatents-Trade Marks:\nA registered patent attorney executes drawings, drafts, specifications; writes patent claims differentiating from prior art; secures patents for machines, processes, compositions of matter.\n\nSamuel Goldstein, (R.P.A.)\n275 East Gunhill Rd., New York City\n\nGoerz Reflex Focuser\nA boon for movie camera users. Eliminates parallax between finder and lens. Provides full-size groundglass image.\n\"magnified 10 times Adaptable to Lenses 3\" and up \u2014 Also useful as extension tube for shorter focus lenses for close-ups. Extensively used in shooting surgical operations, small animal life, etc.\n\nOTHER GOERZ MOVIE PRODUCTS:\nKINO-HYPAR LENSES\nEFFECT and TRICK DEVICES\nVIGNETTERS\nFOCUSING MICROSCOPES\nVARIABLE FIELD VIEW\nFINDERS\n\nDepartment A.C.l\nC.P.GOERZ AMERICAN OPTICAL CO.\n\nThe Documentary Film: History and Principles. By Edward H. Schustack.\nPublication No. 2 Film and Sprockets Society of City College of New York . . . Art Department.\n\nJanuary, 1939 \u2022 American Cinematographer 39\n\nIn this thirty-two-page pamphlet is packed a mass of facts and conclusions regarding the Documentary Film \u2014 something of which we have heard a little and of which we may be sure in the coming months and years we are to hear much. Although\nThe booklet is copyrighted by Mr. Schustack. Perhaps we will be pardoned if we reprint the foreword he has written for it.\n\nIn a letter accompanying the pamphlet, the author states, \"A most significant development in the modern film has been the rapid growth of the documentary film movement. The success of 'The River' last year was of nation-wide significance and helped put the word 'documentary' in the vocabulary of every one in the film industry.\n\n\"Yet to my knowledge, practically nothing really definitive about the documentary film has been published in America. My pamphlet is fortunate in having the distinction of priority over all other writings in the field in America.\"\n\nBut coming back to that foreword: \"The part that the documentary film is to play in America's future is only beginning to be realized. As a means of expressing and recording the human experience, it has great potential.\"\nThe documentary has few peers for exacting social analysis. It can examine, weigh, evaluate, and correlate the complexities of modern America and present to millions of moviegoers not only an understanding of American traditions and ideals but also the means to encourage active participation in all phases of civic affairs. America has flourished in the past on frank discussion of national problems, and I am happy to think that the documentary film has, to a very measurable degree, helped not only to pose many of the questions that face America but also to indicate their solutions. Documentary has gotten off to a good start in the United States through not only the wealth of precedent it may draw upon but also through the efforts of an earnest and talented group of documentalists, many of whom are\n\"In the future, we can expect not only an exceedingly high documentary film standard but also a volume of production sufficient to make it a moving force in the lives of millions of people. Deals with Actualities. The appearance of a little booklet such as this, the first written in this country and the second in the world, has not been unattended by laborious research and film viewing. Some measure of credit for its appearance must go to Edward and Edna Anhalt for their critical reading of the manuscript and many helpful suggestions, and also to Louis Biderman, Cyrus Hariman, and Vincent Buonamassa of the Film and Sprockets Society for aid in editing the manuscript.\"\n[Foreword and following text are about the documentary film, discussing its definition and history from \"Nanook of the North\" to \"The River\" and from Robert Flaherty to Pare Lorentz. The text also mentions the documentary film's focus on actualities, or real people and events. The text also includes a promotional note for Fried Camera Co. and their 35mm. Lite Tester. I will remove the promotional note as it is not relevant to the original text.]\n\n\"The documentary film, within its rather broad definition, can coexist with films like 'Nanook of the North' and 'The River'. Primarily, the documentary film deals with actualities - people who live and events that occur in the world around us. From Robert Flaherty to Pare Lorentz is a significant jump in method and motivation, which jump encompasses the history of the documentary film from its beginnings through to its current form. Documentary history may be said to have its beginning...\"\nMotion Picture Cameras - Blimps - Dollies - Camera Crane and All Accessories\n6313 Sunset Boulevard\nNear Vine Street\nHollywood, California\n\nMotions Picture camera Supply - 723 Seventh ave. NEW YORK, NY\nJ. Burci: CINECAMERA\n40 American Cinematographer \u2022 January, 1939\n\nFor those upon whose shoulders is thrown the responsibility of deciding just what is and what is not a documentary film, like the many men and women placed in charge of contests in magazines and amateur clubs, here are nineteen words of priceless advice:\n\n\"Primarily the documentary film deals with actualities - people who live and events that occur in the world about us.\"\n\nA few pages are devoted to the following in the world of Robert Flaherty.\nFlaherty began his work in documentary film in 1920, commissioned by Paris fur house Revillon Freres to explore part of the Hudson Bay on a commercial venture. He took a motion picture camera along on his own responsibility. Despite great difficulties, he brought back \"Nanook of the North\" with native Esquimos as actors. The story of an Eskimo tribe's quest for existence and continuous battle against the hostile forces of nature gripped the picturegoing world. The picture was a financial success, but Flaherty's viewpoint and conception of life in primitive countries differed from that of studio authorities.\n\n\"Man of Aran\"\n\nFlaherty brought from the South Seas\nThe producers of \"Moana\" were displeased with the simplicity of native lives, changing the tale's theme. They introduced mellow guitars and shimmying chorus girls, according to the author. Two other Hollywood productions employing Flaherty's talents resulted in viewpoint clashes. Flaherty in Ireland, under Gaumont-British commission, produced \"Man of Aran\" (1933), classified by the author as the most outstanding example of the idyllic documentary method. It is the culmination of all Flaherty's work from 'Nanook' on. The eternal conflict of Man and Nature\u2014Man against the Sea, the ever-watchful enemy of Aran\u2014is the essence of Flaherty's ideology.\n\nUnder the heading \"Naturalism and the Documentary,\" the author refers to \"The Covered Wagon\" as being just another example.\n[James Cruze obtained the script for another Western film. The theme of this film is undeniably epic in scope.\n\nHollywood Camera Exchange\n1600 Cahuenga Boulevard\nHollywood, California\nCable: Hocamex\n\nFor the 'Camermen'\nI^Seu Mitchell came with Kodak\nPf Cutting Room Equipment\nSlfFTj'GHTS-LFMc mWO# e*pE*\nSi sAhoweli- M\nStudio \u00a3 Cutting F]\n\nGranting that it was a film of fiction and a re-enactment of past history, one must admit that the greatness of its theme transcended these factors.\nThe author declares that the documentary had a broad scope in national history. Many successors followed, including John Ford's \"The Iron Horse\" and Ernest Schoedsack and Merian Cooper's \"Grass.\" The pamphlet also covers Continental Realism, Newsreel and Documentary, Documentary in the U.S.S.R., Joris Ivens, British Documentary, Rising American Documentary, Developmental Documentary, Modern Documentary, and The Future of the Documentary. Another prominent documentarist is Walter Ruttman, whose \"Berlin\" is discussed at length.\nman is also known as one of the progenitors of the candid camera school of photography. He used a movie camera concealed in a specially designed moving van for making his pictures. This pamphlet contains a wealth of interesting material, much of which cannot be touched in this review. The use of documentary films in Russia and England is described, as well as extended reference to a picture made for the Mexican Government \u2013 \u201cThe Wave,\u201d in 1935-6 \u2013 which was shown at the December dinner of the Pacific Geographic Society. This pamphlet by Mr. Schustack is worthy of wide distribution, as it will have large interest not only for educators but also for all thoughtful persons.\nAttend motion picture performances and that is a sufficiently large slice of humanity to count in any corner of the world.\n\nPublished by Photo Utilities, Inc., this tiny book of twenty-eight 2.5 by 3.5 inch pages has been issued as of December 1, 1938, at 25 cents a copy. It is a valuable addition to the impedimenta carried by any photographer having use at times for films the rating of which he knows not. Comparisons of meter speeds are based on Photoscop both at home and abroad.\n\nChapters are devoted to \u201cSpeed Numbers of Exposure Meters,\u201d \u201cMotion Picture Cameras,\u201d \u201cPractical Speed Values in Photoscop Speed Numbers,\u201d and \u201cColor Processes.\u201d\n\n\"Just for Fun\"\n\nIn these forty 5 by 7.5 inch pages are included:\n\n- Speed Numbers of Exposure Meters\n- Motion Picture Cameras\n- Practical Speed Values in Photoscop Speed Numbers\n- Color Processes\nFive scripts published by Home Movie Screen Plays, 944 Little Building, Boston, contain short stories with few props. Following each scene, the number of feet required for 16mm. is listed, as no distinction is made. Players in each script range from two to five. Titles and number of scenes, with total footage minus titles, are as follows: Biscuits and Bullets - 32 scenes, 85 feet; Romance on Skis - 36 scenes, 86 feet; Minnie's Mince Pie - 43 scenes, 83 feet; Gold in Them Thar Hills - 28 scenes, 64 feet; Fisherman's Luck - 46 scenes, 95 feet.\n\nFomo Publishing Company of Canton, Ohio, issues \"$50 a Week with Car and Camera,\" a 43-page, 6 by 9 inch book, at 50 cents a copy, containing many tips for the person thinking of going into business with a camera.\nThe publication is No. 12 in a series of \"Profitable Photography.\" Introduced by H. Rossiter Snyder, the booklet is written by Paul Glenn Holt. The writer recommends a camera of postcard size or very close to that. The lens recommended is an anastigmat with a speed of f.6.3 or f.4.5. Either roll films, film packs, or cut films are preferred. For the more profitable clientele, the writer recommends a neighborhood that is neither inhabited by the lesser in worldly goods nor for the more fortunate. The in-betweens are the better prospects. There are many suggestions as to how to handle tough prospects. In fact, as much attention is given to the actual problem of selling as to the technical job of getting out your customers\u2019 work. The book would seem to be stacked with sound advice.\n\nThe Fundamentals of Photography.\nThe Eastman Kodak Company has sued its eighth edition of \u201cThe Fundamentals of Photography,\u201d by C. E. K. Mees, D. Sc. In the preface, the author sets forth his belief that while a knowledge of the theory of photography is by no means essential for success in making pictures, most photographers have felt a curiosity as to the scientific foundations of the art and have wished to know more of the materials which they use and of the reactions which those materials undergo when exposed to light and when treated with the chemical baths by which the finished result is obtained. The book has been written with the object of providing an elementary account of the theoretical foundations of photography, in language which can be followed by readers without any specialized scientific training. Its aim is to interest photographers in the scientific aspects of their craft.\nThe book contains 125 pages and is illustrated. Chapters include \"Light and Vision,\" \"About Lenses,\" \"The Light Sensitive Materials Used in Photography,\" \"Exposure,\" \"Development,\" \"Structure of the Developed Image,\" \"Reproduction of Light and Shade in Photography,\" \"Printing,\" and \"Finishing of the Negative.\" \"Wellcome\" Photographic Diary 1939\n\nThis year has seen many changes in emulsions, particularly regarding the speed and nature of films. The annual issue of the \"Wellcome\" Photographic Exposure Calculator, Handbook and Diary for 1939 will be of interest to enthusiasts, as it is an authoritative independent source of information.\ntion  not  only  on  speed  but  on  the  other \ncharacteristics  of  practically  all  films \nand  plates  obtainable. \nSo  much  for  the  enthusiast,  but  the \nbook  is  even  more  essential  as  a  guide, \nphilosopher  and  friend  for  the  beginner \nThe  NEW \nVARIRAYi \nPortable  Recording  Equipment \nits  features  include: \n\u2022  Rotary  Film  Drum. \n\u2022  Film  Loop  Stabilizer. \n\u2022  Noise  Reduction  Shutter. \n\u2022  Portable  Amplifier  with \nremote  3-Position  Mixer. \n\u2022  Variable  Low  and  Hi-Fre- \nquency  Equalizer. \n\u2022  Built-in  Monitor  Amplifier. \n\u2014 write  for  particulars \u2014 \nBLUE  SEAL \nSOUND  DEVICES.  INC. \n723  Seventh  Ave.  New  York  City \nCable  Address :  SOUNDFILM \nThe  New  Blue  Seal  Variray  Portable \nRecorder  with  Galvanometer  Noise \nReduction  Control  Built  into  Base. \nCAMERA  SUPPLY  COMPANY \nART  REEVES \n1515  North  Cahuenqa  Boulevard \nCable  Address \u2014 Cameras \nHOLLYWOOD  Cable  Address\u2014 Cameras  CALIFORNIA \nEfficient-Courteous  Service \nGORDON  BENNETT\u2014 Manager \nEverything in photographic equipment (professional and amateur, new and used) bought, sold, or rented. 42 American Cinematographer, January 1939. In ordinary photography or all branches of hand camera, miniature, color or cine work. Solutions to difficulties in exposure, developing, printing, lantern slide making, toning, staining, use of color filters, focusing by scale, permits to photograph, copying, night photography, taking moving objects, artificial light or flashlight work, will be found in this comprehensive pocket book. The cost is 75 cents at any photographic dealer.\n\nPhotography of Colored Objects\nThe fourteen revised edition of \u201cPhotography of Colored Objects\u201d has been issued by Eastman. The book, which contains 124 pages, is a statement of the theory underlying the photography of colored objects and the application.\nThat theory applies to those branches of practice of the most frequent occurrence. Though purely scientific terms and phraseology are not employed, no attempt has been made to be entirely \"practical.\" The Eastman products are admittedly freely discussed, but it is stated that the loss of generalization due to this procedure will be compensated by the advantage of definite information.\n\nThere are twelve chapters, five of which are devoted to filters.\n\nPhotographic Make-Up by Wray Meltmar. Pitman Publishing Corporation. New York, Chicago. 218 pp. 60 illustrations. 10 tables. $3.50.\n\nThis book will be welcomed in a constantly enlarging audience. It seems to be complete, telling its story as it would be sought by those intent on making better motion pictures. And that goes whether the same be either:\nThe text is already mostly clean and readable. I will make some minor corrections for clarity and consistency.\n\nThe text is about a book on make-up for photography. It is intended for both amateurs and professionals. The book has eight chapters. The first chapter is about make-up history, the difference between stage and panchromatic make-up, color composition, and photographic reflection powers of panchromatic make-up, and its use in photography. The second chapter is about the photographer's use of make-up, and the following chapters cover straight make-up for women, corrective make-up and facial modeling, principles of character make-up for women, and partial, straight, and corrective make-up.\n\nHere is the cleaned text:\n\nThe text primarily targets both amateur and professional photographers. It contains eight chapters. The first chapter, titled \"Make-Up and Its Use in Photography,\" is divided into four parts: Historical, Difference Between Stage and Panchromatic Make-Up, Color Composition and Photographic Reflection Powers of Panchromatic Make-Up, and Use of Panchromatic Make-Up in Photography.\n\nThe second chapter, titled \"The Photographer's Use of Make-Up,\" is divided into six parts. Chapter 3 is about \"Straight Make-Up for Women,\" Chapter 4 is \"Corrective Make-Up and Facial Modeling,\" Chapter 5 is \"Principles of Character Make-Up for Women \u2013 Use and Purpose,\" and Chapter 6 is \"Partial, Straight, and Corrective Make-Up.\"\nChapter 7 and 8: \"Principles of Character Make-Up for Men\" and \"Direct Color Make-Up.\" The book also includes chapters on General Bibliography and Glossary.\n\nAll illustrations in the book were created using Max Factor's panchromatic make-up, except for those of women, who used their own street make-up and were labeled accordingly. The numerous photographs demonstrating make-up application were lit as flat as possible to show make-up results, not lighting, posing, or photographic technique.\n\nThe book is a fifteen-year compilation of make-up experience in theater, motion pictures, and photographic studios. It was inspired by the demands of members of the Photographers' Association of America during their 1937 annual convention, where the author gave three demonstrations and lectures.\nThe author has dedicated the last five years to photography and make-up for the camera, both black and white and direct color. LIGHTING NEWS ON THE SET EVERY DAY Nothing is like Duarc. Verdict of Experts Latest portrait of Duarc, the sensational twin-arc endurance champion, added the anti-flicker championship to its laurels. The first twin champion, twin arc, has received tremendous ovation in all studios since its introduction. A third championship for Duarc seems in prospect, as it is running neck-and-neck with Walt Disney\u2019s \u201cDopey\u201d as the year\u2019s outstanding silent performer. Like all of the finest lighting equipment, Duarc makes its headquarters exclusively with Mole-Richardson Company.\n941 No. Sycamore Ave., Hollywood, California.\nDUAL CARBON FEED SYSTEM GETS PRAISE\nHailing DUARC\u2019s famous dual carbon feed as the finest yet seen in any twin arc broadside, experts from the Society for the Prevention of Cruelty to Arcs credited DUARC as the first twin to treat carbons properly.\n\"Anyone who knows anything about the care and feeding of arcs,\" said an S.P.C.A. spokesman, \"knows that they demand individual treatment. The old-fashioned practice of keeping both arcs in a twin-arc yoked together like oxen, forcing them to feed as a unit, is unjustifiable brutality. Often one arc burns its carbon faster than its companion: with the feed governed by electrical averages, one arc is starved and the other stuffed. No wonder the poor things flicker and change color!\n\"DUARC, on the other hand, feeds each arc independently, at a rate governed by its own needs.\"\n\"Erned by its individual needs, such humane treatment is naturally rewarded with the flicker-free light of uniform color. \"We are glad to endorse DUARC as the first twin arc to treat its carbons right!\" DUARC HAILED AS SECRET OF FLICKER-FREE ARC LIGHTING\n\nFollowing hard upon the record-breaking 2 hr. 22 % min, non-stop run which made DUARC the acknowledged endurance champion of twin arcs, the new twin is receiving additional plaudits as the unique flicker-free twin arc illuminant of the industry.\n\nComparative tests before scientific investigators and practical technicians on major studio sets prove DUARC the one truly flickerless lamp of its kind, making it a two-way champion. There have been numerous twin arcs since the movies started using lights, but never before any capable of winning and holding a twin championship as does DUARC.\"\nStudents of arcology attribute this record-breaking performance to DUARC's progressive abandonment of outdated methods and application of modern scientific design to modern problems. DUARC, they claim, is a true champion \u2013 and like all champions, cannot be imitated.\n\nJanuary 1939 \u2022 American Cinematographer 43\nSherlock's \"Nation Builders\" Winner (Continued from Page 17)\n\nSherlock, in his spare time, undertook less continuous work on it. He is a commercial artist, and due to his training, he selected a subject he believed would be colorful and appealing to the sense of taste. He first wrote a brief story and then made a series of sketches of the action.\n\nNext, he made figures out of Jello boxes, a rubber ball serving as the head, with arms and legs of wire, covered with wooden beads. Next came the sets in which the dolls were to work.\nTwo or three weeks of spare time were required for each setup of the 5000 single frame exposures. The tremendous amount of work involved can be easily grasped. To provide a clearer idea of the labor involved in creating the cartoon, one had to step from the camera into the set and move several figures, wheels, and cut-outs a fraction of an inch. The photographer would then step back to the camera and shoot a single frame, then return to the set and repeat the process.\n\nThe picture consists of 125 feet of animation and 25 feet of titles. The latter were double exposed over appropriate backgrounds, designed to fit in with the following action and the words.\n\nEpes W. Sargent\nPasses\n\nThe death is announced in New York of Epes Wentworth Sargent, the first reporter on Sime Silverman\u2019s Variety.\nThe end came suddenly just after he had reached home following his weekly session at the press, sending away Variety, with which publication he was once again connected. \"Chico,\" as he was familiarly and affectionately known, had been in show business for over fifty years. He was one of the early critics of vaudeville or variety, as it was earlier known. On Picture World, with which the former was welded, he fathered and developed the exploitation and scenario departments. With the latter publication, he wrote \"Technique of the Photoplay,\" which went through many editions. With the passing of the World, he rejoined Variety, where among other things he wrote a special weekly department on exploitation.\n\nIn his failing health during the last few years, he had declined efforts of his fellows on Variety to take some of the work he was carrying off his shoulders.\n\n\"Chico,\" a well-known figure in show business for over fifty years, had been an early critic of vaudeville or variety. He began his career on Picture World, where he established and developed the exploitation and scenario departments. He also wrote \"Technique of the Photoplay,\" which went through numerous editions. After Picture World's demise, Chico returned to Variety, where he penned a weekly department on exploitation.\n\nDespite his deteriorating health in his final years, Chico refused assistance from his colleagues at Variety in reducing his workload.\nHe had kept up his routine, even maintaining his regular contribution to Movie Makers. His article \"Hiring Type\" appeared in the December issue. The editor of this paper had worked with him on Moving Picture World for over eight years. There he had learned to admire the man for his many qualities and his rare ability to do an abundance of work. Twenty years ago, his output was limited only by his manual dexterity at the typewriter \u2013 and that was plenty. He rarely stopped even for a moment to think of what he would write next.\n\n\"Chico\" was born in Nassau, in the Bahamas, where his father was the United States Consul, sixty-six years ago. He is survived by a son, Epes Wentworth Sargent Jr., in radio in Chicago.\nBell & Howell introduces new line of 16mm special purpose lenses. The Extol f.1.5 is the first, with more to come. Claimed to be affordable yet equal in quality to Taylor-Hobson lenses.\n\nNew Recording System:\nFirst complete independent rerecording system.\n\nRecording Head: Uses standard plug-in camera motors, can be used for playback on set.\n\nInterlocking Motor System with Distributor Set.\n\nAmplifiers with Extended Mixers: Wide range of equalizers.\n\nEntirely AC Operated.\n\nAC Power Panel.\n\nArt Reeves.\nMotion Picture Equipment\nCable Address: ARTREEVES\n7512 Santa Monica Blvd., Hollywood, California, USA\nAmerican Cinematographer \u2022 January, 1939\nAmerican Motion Pictures Popular in British Malaya\n\nThe large majority of motion picture films shown in British Malaya are produced in the United States and have become extremely popular with Asian audiences due to their action, according to a report to the Department of Commerce from the office of the American Trade Commissioner at Singapore. British producers are the only competitors that distribute films in the same category as American, but the outlet for British films is largely confined to cities where the majority of Europeans, who are British, reside. Indirect competitors of American films are Indian and Chinese films which play to a field of their own and do not directly compete with American films.\nThe report stated that American films clashed with British Malaya, distributors estimating between 65 and 70 percent of the films shown were American, generating an annual earned revenue of approximately $950,000. (Continued, from Page 22) In the construction of this gadget, my only concern was the amount of light to be admitted by the shutter. The first shutter I prepared had an aperture about an inch across. To determine the amount of light required to normally expose my negative, I cut a piece of film from a roll and slipped it into the holder. I then exposed a scene by rapidly sliding the shutter across the opening. Developing the negative, I found the process too rapid and made a new shutter with an opening just a quarter of an inch wider.\nI. An inch wide photograph. Feeling this was appropriate, I loaded a full roll of film into the device and captured eight scenes.\n\nThis roll was handed in at a camera store for processing and developed like any other camera film. Upon receiving the processed film and prints, I discovered my negatives had normal contrast, ensuring my second shutter opening was correct.\n\nWorking in the Darkroom\nAs it now stands, the enlarger isn't sufficiently sealed from extraneous light to operate it in daylight. Consequently, I used an orthochromatic film (Verichrome or Plenachrome) in a darkroom lit by a ruby lamp.\n\nThe ruby lamp created satisfactory working conditions, while the cardboard shields installed on the layout effectively protected the film from light emanating from the projector lamphouse.\n\nBefore loading with film, I placed a:\nOnce focused, the lens requires no further handling throughout exposures. After exposing each scene, I turned off the projector lamp and, by the light of the ruby lamp, opened the film carrier and wound the film to the next unexposed section using the numerals on the paper backing as a guide. Once constructed, it is a simple matter to procure movie film enlargements. Select scenes beforehand and mark the location of the desired scenes with a bit of thread or scotch tape on the reel. Snap the reel in place on the projector and wind up on the take-up reel until the desired frame is in place. Snap on the projector, slide the shutter rapidly across for the exposure.\nSnap off the projector lamp and wind your film spool for the next exposure in this manner, enabling a roll to be exposed in a very few minutes. The chief delight in exposing on a roll of film in the manner outlined is that the neighborhood processor can develop and print the film for you if you lack the facilities to do this job yourself.\n\nSee the STAR of Tour Motifs.\nAt His Brightest and Best!\n\nThe surface of a Da-Lite Glass-Beaded Screen assures a brilliant performance for every member of your home movie cast. Millions of tiny glass beads uniformly cover every inch of the screen and reflect the maximum light. Pictures are brighter, clearer, sharper; yet there is no sparkling or glare. Your color movies and projected color stills have amazing realism on this screen.\n\nDa-Lite\u2019s advanced process of applying the beads fixes them in place.\nThe Polish Government Institution PTA in Warsaw has placed an order for 200 American-made 16mm. sound film projectors, along with gasoline-electric generators. (Department of Commerce report from the American Commercial Attache at Warsaw, January 1939, American Cinematographer 45)\nThe Polish Government. The value of the projectors is estimated to be $65,000. Delivery is to be made in lots of twenty-five to fifty. They were sold in competition with projector manufacturers in Germany, the report stated. These projectors are to be resold on easy, long-term payment plans to small communities for visual instruction in agriculture and livestock raising, to labor camps and training schools for instruction and entertainment, and to military camps, for visual instruction, as well as for Government purposes. Each projector will be accompanied by an American-made 110 volt, 1,000 watt gasoline engine operated generator so that they can be used if electricity is not available. American educational films concerning agriculture, farm building and construction, and other subjects are to be purchased later, according to the report.\n\nProgress in 1938.\nContinued from Page 10. The development of several types of automatic projectors for miniature-camera slides has advanced, some having a capacity of 60 or more slides and operating by remote control or fully automatically. In still photography, the fast film developments in the cinematic world have benefited the still photographer as well. Agfa and Eastman have introduced cut, pack, and roll film of similar types. This progress has been met with the development of smaller flash globes, both wire and foil filled, for use with the faster emulsions. Kodachrome is now available in cut film for most important sizes, and an improved Dufaycolor emulsion is available as roll and cut film. Several firms commercially produce color prints on paper from Kodachrome, and one extends this service to Dufaycolor as well. The Dufay firm, both here and in Europe, is making significant strides in this field.\nAbroad, a service has been initiated for making color paper prints from Dufaycolor transparencies, and in this country, color enlargements are also available. There has been a marked increase in the use of Kodachrome in national magazines, with the process to a considerable extent superseding the more cumbersome \u201cone-shot\u201d cameras. A significant development in the still camera field is the rise of several types of American-made miniature cameras. None of these have invaded the DeLuxe class to compete directly with the famous foreign outfits, but they have, especially in the case of the Argus, scored a marked success in the medium-price range. Among the foreign miniatures, detail refinements are noted, and at least one new, fully-automatic camera comparable to the older \u201cRobot\u201d has appeared. The use of miniature cameras in studio still work has definitely increased.\nA most interesting innovation in amateur still cameras is the new Eastman \u201cSuper Six-20,\u201d with a built-in photo-electric cell to control diaphragm adjustments.\n\nTelevision\nTelevision, according to authentic reports, is on the brink of commercial realization. Abroad, it has been put to somewhat wider use than here, but experimental work in this country is giving way to regularly scheduled commercial broadcasts of sight and sound.\n\nCommercial television receivers are promised in the New York area this spring, to take advantage of scheduled telecasts in connection with the New York World\u2019s Fair. In Los Angeles, the Don Lee Broadcasting system, after telecasting several million feet of motion picture film, has for the past six months conducted regularly scheduled telecasts from live-action subjects.\n\nPresent technical limitations of television.\nVision appears to make it impractical to broadcast more than about 50 miles, or to feed video programs to a national wired network as is now done with sound radio. It is therefore to be expected that a considerable field awaits motion pictures as producers of \"transcribed\" sight-and-sound programs.\n\nHowever, there appears to be a definite tendency among television and engineers and executives to attempt to develop their own technical and other talent rather than borrowing, where possible, from picture-trained personnel\u2014an attitude which the film industry and its branches would do well to answer with concerted action.\n\n\"The Year's Photography 1938-9\"\n\n\"The Year's Photography 1938-9,\" published by the Royal Photographic Society, London, maintains its high photographic standard. The book contains 69 plates, to 56 of which are devoted a full page.\n[The text contains articles on \"Pictorial Photography\" by J. Dudley Johnston, \"The Lantern Slides\" by R. H. Lawton, \"With Nature and Many Cameras\" by Ralph Chislett, and \"The Magic Eye\" by James Mitchell.\n\nClassified Advertising\n\nFor Sale\n\nBell and Howell Single System. Complete. Bell and Howell silenced camera with shift-over focus. Wall single system, complete; rebuilt B & H sound printers; rebuilt Duplex sound and picture printers; 200 ft. Stinemann developing reels; used measuring machines. Complete Akeley camera equipment. Akeley 1000-ft. magazines, synchronous camera motors. Motors, sunshades, finders, lenses and all accessories.\n\nWrite, wire or cable:\n\nMotion Picture Camera Supply, Inc.\n723 Seventh Avenue\nNew York City\n\nCable : Cinecamera\n\nThe World\u2019s Largest Variety Of]\n\nMotion Picture Camera Equipment for Sale: Complete Bell and Howell Single System, rebuilt sound printers, developing reels, and Akeley camera equipment. Write, wire, or cable: Motion Picture Camera Supply, Inc., 723 Seventh Avenue, New York City. Cable: Cinecamera. The World's Largest Variety Of.\nStudio and Laboratory equipment with latest improvements as used in Hollywood at tremendous savings. New and Used. Mitchell, Bell-howell, Akeley, De Brie, Eyemo, animation process cameras, lenses, color magazines, adaptors, lighting equipment, silencing blimps, dollies, printers, splicers, moviolas, motors, light-testers, gear boxes, synchronizers. Guaranteed optically and mechanically perfect. Send for bargain catalogue*\n\nHollywood Camera Exchange\n1600 Cahuenga Blvd., Hollywood, Calif.\nCable: Hocamex\n\nBell and Howell 170\u00b0 Cameras\u2014 High speed shuttles \u2014 high speed gear boxes \u2014 400 and 1000 foot Bell & Howell magazines \u2014 Bell & Howell tripods \u2014 motors. Mitchell silenced cameras. Akeley and De Brie Cameras. Akeley motors. High speed motors. Sunshades, lenses and finders.\n\nWrite or Wire\nCamera Equipment Company\n1600 Broadway, New York City\nTel. Circle 6-6080 Cable: Cinequip\nWE BUY, SELL AND RENT professional 16 mm equipment new and used. We are distributors for all leading manufacturers. Rubber Camera Exchange, 729 Seventh Ave., New York City. Established since 1910.\n\nNew precision test reel for projection and sound. Developed by prominent SMPE member. Combination visual, sound tests for all soundtrack adjustments. Indicates travel ghost, sidesway, picture jump, etc. Contains visual targets and constant level frequencies. W.E. Mirrophonic recording. Truly simplified, easily understood. Comparative value, $75.00. With full instructions, $29.60.\n\n16mm Turret Eyemo No. 150507\u2014 24mm f2 \u2014 47mm f2.5 \u2014 6 in. f4.5 Cooke lenses. 400 ft. Magazines, Hand Crank, 110 volt Motor, Carrying Case, Freehead Tripod. Worth $1500 \u2014 $900 CASH.\n\nWe rent and buy any equipment. Camera Mart. Inc., 70 West 45th St., New York City.\nWanted:\nWe pay cash for photos, graphic. Write us today. Hollywood Camera Exchange. 1600 Cahuenga Blvd., Hollywood.\n\nWanted to buy for cash:\nCameras and accessories\nMitchell, B & H, Eyemo, Debrie, Akeley\nAlso laboratory and cutting room equipment\n\nCamera Equipment Company\n1600 Broadway, New York City\nCable: Cinequip\n\nWanted: 2 silenced Mitchell cameras with equipment. Cash paid.\n\nCamera Equipment Company\n1600 Broadway, New York City\nCable: Cinequip Tel. Circle 6-5080\n\nWant to buy for cash:\nMitchell cameras and accessories\nWrite, wire or cable\nMotion Picture Camera Supply, Inc.\n723 Seventh Avenue, New York City\nCable Address: Cinecamera\n\n46 American Cinematographer \u2022 January, 1939\n\nThink of all the essentials of a fine 8 mm. camera, add the most widely used advanced features hitherto found on 16 mm. and 35 mm. cameras only, and you have the Filmo.\nThis new camera combines the economy of 8 millimeter film with readiness for all picture opportunities. Your choice of three lenses and matching viewfinders is mounted on the turret. A turn of the hand and the correct lens is in position. Automatically, its matching viewfinder comes into position as well. The Filmo Turret 8 has an exclusive \"projected area\u201d viewfinder which shows a large, brilliant image, outlined exactly as it will appear on the screen. It has a straight-through-the-lens critical focuser for needle-sharp focusing, four operating speeds, single-frame exposure device, and many other features which you\u2019ll want to know about. So send the coupon. Three-lens turret broadens picture opportunities. Yet Filmo Turret 8 is small and compact. Pictured with 12mm, 1-inch, and 0.6-inch lenses.\nIf you want fine 16 mm. movies with minimal camera details, consider the Filmo 141 magazine-loading camera. It's almost automatic and features prevent mistakes. For instance, it permits interchanging film in mid-reel without fogging a single frame. Its \"projected area\u201d viewfinder eliminates \"eye parallax,\" causing poor picture composition. Its color-corrected F 2.7 lens is interchangeable with a full range of special-purpose lenses. Matching viewfinder objectives are available for each lens. It has four speeds and a single-frame exposure button.\n\nWith Taylor-Hobson 1-inch F 2.7 lens: $127.50\nAlso available with F 1.9 or F 1.5 lens. Send coupon for details.\n\nBell & Howell Company\nChicago, New York, Hollywood, London\nEstablished 1907\n\nTwo new film sounds for sound movies at home.\nFilmosound \"Academy\": Includes all essential features for home projection of 16 mm. sound and silent movies. Offers brilliant, steady projection, faithful sound reproduction, and extreme ease of operation. With 750-watt lamp, 1600-foot film capacity, complete in two cases, $298.\n\nFilmosound 142: Offers all the features of Filmosound \"Academy\" plus greater picture brilliance and more than twice the sound volume for use in auditoriums as well as at home. Other features: reversing mechanism, still-picture clutch, and provision for using a microphone and a phonograph turntable. Complete: $410.\n\n1000 Sound Films in New Catalog\nIf you have a 16 mm. sound film projector, you\u2019ll want the new Filmosound Library catalog of over 1000 selected films.\n\nTo 16 mm. silent projector users, this catalog will provide you with a wide range of films to choose from.\nDear Mr. McCall,\n\nWe at Warner Brothers Studio would like to express our sincere appreciation for the fine cooperation and service we have experienced in the purchase and delivery of the ten new Mitchell cameras. The cameramen are thrilled with the new camera's performance, finding it to be a great time saver, more efficient, and easier to handle than any previous model.\n\nExecutive Offices,\nWarner Brothers,\n321 W. 44th St.,\nNew York.\nTelephone: EXCHANGE HOLLY 1231,\n\nPictures, Inc.,\nWest coast Studios,\nBurbank, California,\nDecember 22, 1938.\n\nMr. J. D. McCall,\nMitchell Camera Corporation,\n665 N. Robertson Blvd.,\nWest Hollywood.\nThe camera has been used since the days of silent films. The necessity of using glass for soundproofing being eliminated has given the Director of Photography much more latitude for various effects and results. You are to be congratulated for contributing to the motion picture industry a fine, new, modernized piece of equipment of which you can be proud.\n\nEBMcG\nYlTOllMi\n665 North Robertson Boulevard\nWest Hollywood, CA\nCable Address \"MITCAMCO\"\nPhone Oxford 1051\n\nAgencies:\nBell & Howell, Ltd., London, England\nClaud C. Carter, Sydney, Australia\nD. Nagase & Co., Ltd., Osaka, Japan\nMotion Picture Camera Supply Co., New York City\nBombay Radio Co., Ltd., Bombay, India\nH. Nassibian, Cairo, Egypt\n\nForeign 35c\nPublished in Hollywood by\nAmerican Society of Cinematographers\n\nExpedients for New Film\nValentine\nMoviemaking Gadgets\nTeorey\nMetal Film Progresses\nCARTER\nRivalry in Contest\nSTULL\nPalmer and Rennahan Take Award\nBLAISDELL\nEditing Odd Footage\nSPRUNGMAN\n\"Girl Next Door\" (A Script)\nFonda Developer\nNew Method for Interior Photography\nCASTLE\nLittles' Party April 14\nTechnicolor Truck on \"Kentucky\"\n\nDu Pont Superior Pan gives your work the excellent tonal gradations required for beautiful pictures. Its wide latitude and uniformity assure you of splendid results every time. For better photography in your next production, rely on Du Pont Superior Panchromatic Negative.\n\nDu Pont Film Manufacturing Corporation INCORPORATED\n9 Rockefeller Plaza SMITH &. ALLER, LTD.\nNew York - N.Y. 6656 Santa Monica Blvd.\nPlant . Parlin, N.J. Hollywood, California\n\nBetter Thin Qs for Better Livin Q through Chemistry\n50 American Cinematographer \u2022 February, 1939\nCameramen covering the Sino-Japanese War universally used the Eyemo, written by Takafumi Hishikari, cameraman for Domei News Agency, Tokyo, and son of General Hishikari who captured Manchuria.\n\nThe Eyemo, equipped with optional accessories, is preferred by both Chinese and Japanese photographers. With three lenses on its turret, Eyemo is ready for every picture opportunity. When permitted, Eyemo can be equipped with a tripod, 400-foot magazines, electric drive (synchronized with a sound recorder when desired), and most other studio camera accessories. The same Eyemo can quickly be stripped down to a light, compact, spring-driven hand camera.\nEyemo has focusing and diaphragm controls visible through the viewfinder. Standard S.M.P.E. sound aperture, vibrationless governor assuring accurate speeds, and many other features. Built with typical B & H precision, it easily withstands the strenuous work to which it is put.\n\nBell & Howell Company\n1848 Larchmont Ave., Chicago, Illinois\nSend complete information about Eyemo Cameras.\nName.\nAddress.\nCity.\nState.\n\nFebruary, 1939 \u2022 American Cinematographer\nA Technical and Educational Publication on Motion Picture Photography.\nPublished monthly by the American Society of Cinematographers, Inc.\n1782 North Orange Drive, Hollywood (Los Angeles), California\nTelephone: GRanite 2135\n\nPresident: Victor Milner\nTreasurer: Fred W. Jackman\n\nContents\n\nMake-up and set painting aid new film production by Joseph Valentine, A.S.C.\nGadgets for the moviemaker (Article) by Robert W. Teorey\nMetal film steadily progresses (Article) by Dr. Robert W. Carter\nKeen competition marks 1938 contest (Article) by William Stull, A.S.C.\nCo-operation the key to camera award (Article) by George Blaisdell\nLighting the new fast films (Article)\nEditing odd footage (Article) by Ormal I. Sprungman\nPhotophone Soundheads provide studio presence (Ad)\n\"The Girl Next Door\" (Script) (By Cinematic)\nFonda Machine Company completes developer (Ad)\nBert Glennon introducing new method of interior photography (Article) by John Castle\nAcademy names committee on camera award rules (Announcement)\nApril 14 date for the Little's Tenth Annual Movie Party (Announcement)\nB. & H. continuous attachment provides for 800 feet film. Movie Club Notes.\n\nBook reviews:\n- The Eighth Art. (page 90)\n- Photographic Chemicals and Solutions. (page 91)\n\nB. & H. Filmosound equipped with pilot engineers\u2019 Hollywood spring convention (page 94)\n\nStaff:\nEDITOR: George Blaisdell, WASHINGTON\nSTAFF CORRESPONDENT: Reed N. Haythorne, A.S.C., A.S.C.\nTECHNICAL EDITOR: Emery Huse, A.S.C., A.S.C.\nADVISORY EDITORIAL BOARD:\n- Victor Milner, A.S.C.\n- James Van Trees, A.S.C.\n- Fred W. Jackman, A.S.C.\n- Farciot Edouart, A.S.C.\n- Fred Gage, A.S.C.\n- Dr. Herbert Meyer, A.S.C.\nCIRCULATION MANAGER: L. F. Graham\n\nFront Cover:\nThis unusual picture of a camera truck shows the second unit of Twentieth Century-Fox\u2019s \u201cKentucky\u201d crew at the Inglewood track. One of the Technicolor workers describes it as the best camera truck in the industry. Its designer and owner,\n\"Harry Jackson, A.S.C., Thad Brooks, unidentified track employee, Phil Mandella, Charles P. Boyle, A.S.C., Russell Crane, Roy Clarke, Peter Keane, Otto Brower, \"Kansas\" Grosso, Roger Mace, Bill Whitley - New York Representative: S.R. Cowan, 19 East 47th Street, New York, Phone: Plaza 3-0483 - Foreign Representative: Georges Benoit, 100 Allee Franklin, Pavillons-sous-Bois, Seine, France, Telephone: LeRaincy 13-19 - Australian Representative: McGill\u2019s, 179 Elizabeth Street, Melbourne, Australian and New Zealand agents.\"\nEvery movie-maker faces two problems: indoor and outdoor lighting conditions. For each job, you need a film specifically made to give the best results under existing conditions. Thousands of movie makers have found the best answers to this problem in the American Cinematographer, established 1920. Subscription: United States, $2.50 a year; Canada and the Pan-American Union $5.1 cents; American Society of Cinematographers Inc., Number 3, Single Copies 35 cents. Copyright 1937. Entered as second class matter November 18, 1937, at the post office at Los Angeles, California, under the Act of March 3, 1879. American Cinematographer, February 1939.\nAgfa's two famous 16 mm films are Superpan and Hypan. Indoors: Agfa 16 mm. Fine-Grain Superpan ... a film of unusual speed, with fine grain and full color sensitivity. Your projections have remarkable depth and clarity of detail. Outdoors: Agfa 16 mm. Fly pan Reversible ... a fast film that is fine-grained and fully sensitive to all colors. Amazingly brilliant, it gives new snap and luster to projections.\n\nGet Agfa Hypan and Agfa Superpan at your dealer. Hypan comes in 100-foot rolls at $6.00 retail; in 50-foot rolls at $3.25. Superpan in 100-foot rolls at $7.50; in 50-foot rolls at $4.00. Prices include processing and return postage.\n\nMade by Agfa Ansco Corporation in Binghamton, New York.\n\n16 mm. Hypan and Superpan Films\nMake-up and Set Painting\nAid New Film\n\nBy Joseph Valentine, A.S.C.\nPhotos by Roman Freulich.\nCinematography is a good deal like a mathematical equation: change one factor, and you find it necessary to make corresponding changes in several others to keep the result correctly in balance. Just now we\u2019re changing one of the basic factors \u2014 film \u2014 with the introduction of new \u201cfast film\u201d emulsions. In consequence, most of us are discovering it is necessary to make complementary changes all along the line in order to keep the final result at the balance we call good cinematography. This statement implies no criticism of the new emulsions. They are a very practical advance in film making and offer great possibilities for the advancement of cinematography. But if we are to utilize these possibilities to the full, we must recognize that the sensational increases in speed shown by the new emulsions are by no means the only factors involved.\nUtilizing increased speed is a relatively simple matter, depending on each individual cinematographer's taste and technique, and the methods of the laboratory processing his negative. In my own case, I have found it possible to make an overall reduction of about 70 percent from the lighting level I normally employed with the older film. This is merely a matter of using smaller lamps, smaller globes, and, especially in the case of \"broads,\" more diffusion. Until the eye becomes accustomed to reading these new, low levels of illumination, a modern, photoelectric light meter is extremely helpful.\n\nBut lighting and exposure levels are only part of the problem. Perhaps the most important single factor in dramatic photography is increased sensitivity.\nCinematography is the relation between the color sensitivity of an emulsion and the reproduction of pleasing flesh tones. This brings us to the closely related problems of camerawork and make-up. Technical factors that affect one are likely to affect and demand changes in the other.\n\nThe film used in the still camera did not have the sensitivity characteristics of \"Plus-X,\" but some idea of the improved skin textures given by the new make-up may be gained nonetheless.\n\nFrom \"Three Smart Girls Grow Up,\" Deanna Durbin (left) wears conventional make-up, and Nan Grey (right) wears the new make-up, in a scene.\n\nGraphing my present production, \"Three Smart Girls Grow Up,\" on the new film, I briefly note that the rushes showed:\nFaces were not appearing as we were accustomed to seeing them. I took this as an indication that the film and makeup were not properly coordinated. It seemed to me that with the overall increase in speed, the film's response to the red elements in our standard makeup had become more noticeable.\n\nSpeaking photographically, faces are highlights. A highlight-response that would not be noticeable on a slower film could be magnified by a faster, more sensitive film.\n\nThis has an important bearing on the photographic rendition of flesh tones. The standard \"panchromatic\" makeup is a range of warm brown tones, all of which contain a considerable proportion of red.\n\nWith film of what we have heretofore considered normal sensitivity, these red-brown tones have been photographically neutral, giving a correct black-and-white rendition of normal face tones.\nThe higher sensitivity of the new film changes the effect of this standard make-up. The red component registers with an intensity out of normal proportion, while the other components register approximately normally.\n\nIf increased film speed were the only consideration, we might expect to solve the make-up problem as we did when superpan replaced the earlier pan, by simply using a darker shade of make-up. Even with the increased sensitivity of the new film, it might be thought that this expedient would solve the problem.\n\nHowever, in actual practice, this cannot be done successfully. The fact that the red components and the rest of the base tone do not photograph uniformly destroys the conventional balance.\n\nDespite the best efforts of cinematographers and make-up artists, faces have an unpleasant tendency to photograph unnaturally when using this make-up with the new film.\nThe muddy-looking make-up appeared unwashed and blotchy. Universal's make-up chief, Jack Pierce, and I discovered this issue and agreed that the quickest remedy was a completely new make-up system. We experimented, and with the collaboration of the Max Factor organization, we finally evolved a range of grease paint and powder that restored the normal balance when used with the new film.\n\nLike conventional products, the new make-up is fundamentally a range of photographically neutral brownish shades. However, the red component has been drastically reduced so that the natural color of the face can come through. The result is a range of make-up tones which remain photographically neutral.\n\nThe natural-colored hackings were lit for a night effect. The body of the backing is opaqued, and the windows are illuminated by light shining through areas not blocked out.\nThe new make-up, which works effectively with the new, more sensitive film, also indicates that this make-up will be useful for natural color cinematography. Thin Application The pigments and support used in the new make-up require much thinner application than conventional make-up. Even the very thinnest coating suffices, allowing much of the natural tone of the skin to shine through. The new make-up can be used for shaded or corrective effects as well as the old. However, greater care must be taken in blending adjacent areas of different shades to avoid revealing the artifice on the more sensitive film. A special powder, chromatically the same as the base, and corresponding lip-rouges, etc., are being compounded to complete the system. A full range of shades is being provided.\nmeet all normal requirements for making up both women and men. While the shades compare closely with those of standard make-up, they are conveniently given lower numbers, ranging from 1 to 12.\n\nThe first player to wear the new make-up for actual production was Nan Grey. From the start of production, we had trouble making her look as well as she should with the old make-up and the new film. To put it bluntly, no matter what Pierce or I did, we couldn't give her the clear skin texture a young girl with her fair hair and skin should have.\n\nTherefore, as soon as we felt reasonably confident of the new make-up, we applied it to her. And our troubles were over: her face rendition cleaned up at once, losing its blotchy, muddy tones, and she became the clear-skinned young girl she should be.\n\nA similar improvement was noticed.\nWhen Robert Cummings, playing opposite her, also changed to the new make-up. Now, as fast as production schedules permit, the rest of the cast, including the star Deanna Durbin, are being switched to the new make-up, with corresponding improvement.\n\nThe individual reactions of the players to the new make-up revealed an angle which those of us concerned with make-up, so to speak, in the abstract, might ordinarily overlook. The people who wear the make-up have all commented that in addition to giving them a better appearance on the screen, the new make-up, due to the much thinner application necessary, is more comfortable to wear. This, of course, pays practical dividends in better, more natural acting.\n\nAnother innovation put to its first extensive use on \u201cThree Smart Girls Grow Up\u201d is pastel-toned sets.\nUp is a new system of set painting that Art Director Jack Otterson and I have collaborated on. It is based on an idea with which we have experimented for nearly a year and cannot be called a development stemming from the new film. However, in practice, we have found it to be even more advantageous with the new film than with the old. Briefly, it is a system of painting sets with a standardized range of pastel shades.\n\nFor some time, Otterson and I had been asking each other why sets should be painted generally in a monochromatic range of whites and grays, and why, on the rather rare occasions colors are used, they should be used apparently so haphazardly.\n\nOne of the pastel-toned sets for \"Three Smart Girls Grow Up\" has walls painted in two shades of pink; the columns, baseboard, corona, etc., in light pastels.\nThe arch over the far door is in light violet-gray. The wall in the right foreground is in two light shades of blue-green. Sooner or later, we reasoned, natural color cinematography will force us to use color. Until then, why not make use of the known facts of monochrome color rendition to make sets more natural and cinematography and lighting simpler?\n\nFortunately, here at Universal, we are in a position where we enjoy opportunities better than ordinary to experiment with anything which seems to have a reasonable chance of benefiting production. With such executive cooperation, Otterson and I were able to make rather extensive tests of many pigments and ideas.\n\nUniversal's \"Three Smart Men\": Director of Photography Joseph Valentine, A.S.C. (left), Director Henry Koster (center), and Producer Joseph Pasternak (right), studying light tests of a\nThe shooting took place on \"Three Smart Girls Grow Up.\" We reached the range of colors and shades that have been standardized and are used for all interiors in our current film.\n\nStandardized Colors and Shades\nThis system includes four standardized pastel tones: a violet-gray, a blue-green, a pink, and a tan. Each of these is further divided into four standardized shades, ranging from a No. 1 or light shade, which is nearly a pure color, to a No. 4 or dark shade. The darkened numbers are not created by deepening the color but by graying it.\n\nIn practical terms, this means we have a range of sixteen standard colors for set painting, each tone and shade of which is a known factor to both the cameraman and the art director.\n\nWhen the art director specifies a particular color scheme for his set, he\nnot only knows precisely how it will look, but from tests and production already available to him, he knows how each shade will photograph. He has ample range of coloring to afford his artistic imagination full play, and in using these tested colors, he can be confident that the likelihood of expensive misunderstandings between sketch and camera are virtually eliminated. All of us have had experience with set colorings which in the art director\u2019s sketch or in a sample appeared one thing, and which turned out to be quite different on the set itself. (Continued on Page 85)\n\n56 American Cinematographer \u2022 February, 1939\n\nGadgets for the Moviemaker\nBy Robert W. Teorey\n\nMany a movie maker with a low-priced camera in his possession is the producer of such outstanding films that viewers of his efforts are often led into the mistaken belief that high-priced equipment is not essential to the creation of a successful motion picture. However, the use of gadgets and accessories can often make the difference between a mediocre and a superior production. In this article, we will discuss some of the more important gadgets that can be used to enhance the value of even the most modest camera outfit.\n\nFirst and foremost among these accessories is the tripod. Although it may seem a simple piece of equipment, the tripod is essential for securing the camera in position during long takes and for ensuring that the camera remains steady during exposures. A good quality tripod is a worthwhile investment, as it will provide a solid foundation for the camera and allow for greater flexibility in framing and composition.\n\nAnother essential accessory is the filter kit. Filters can be used to enhance the visual quality of the film, to correct for lighting conditions, or to create special effects. A basic filter kit should include a set of neutral density filters, which can be used to reduce the amount of light entering the lens, and a set of polarizing filters, which can be used to eliminate reflections and to enhance the saturation of colors.\n\nA third important accessory is the reflector. The reflector can be used to bounce light onto the subject, filling in shadows and adding depth and dimension to the image. A collapsible reflector is a convenient and portable option, as it can be easily transported and set up on location.\n\nA fourth accessory that can be of great value to the moviemaker is the matte box. The matte box is used to mount filters in front of the lens and to shield the lens from stray light. It can also be used to attach flags and other accessories, allowing for greater control over the lighting and composition of the scene.\n\nFinally, a monopod is another useful gadget for the moviemaker. A monopod is a single-legged support that can be used to stabilize the camera and to provide additional support during handheld shots. It is particularly useful for shooting on uneven terrain or for capturing quick, dynamic movements.\n\nIn conclusion, while a low-priced camera may be sufficient for some productions, the use of gadgets and accessories can greatly enhance the value of the equipment and contribute to the success of the motion picture. By investing in a tripod, filter kit, reflector, matte box, and monopod, the moviemaker can add a professional touch to even the most modest production.\nThe belief that the filmmaker is the possessor of one of the ultra-finely crafted cameras with all refinements and accessories necessary for producing the most intricate effects is prevalent. However, as repeatedly stated, the answer lies with the man behind the camera, and credit is due to him in most cases rather than to the specific piece of machinery exposing the film. If we have a genuine desire for unusual effects in our pictures, then no matter how simple the camera, we can achieve them if we make up our minds to do so. The entire situation hinges on our willingness and ability to apply simple adaptations or devise useful expedients applicable not only in filming but in the later stages of editing and projecting. If we are able and willing to apply ourselves to these ends, many shortcuts are possible.\nSent this hastens our efforts and assists in presenting more finished, entertaining, and smoothly running movies.\n\nOur primary goal in filming is to do much with little. Small improvements on our part should always lead to satisfactory results in cinematics.\n\nFor several years, I have employed the popular Eastman Cine 8 for my filmmaking. This camera can only capture images at a rate of 16 frames per second and roughly indicate the remaining footage to be exposed. In essence, it is designed for standard movie production.\n\nDespite its limitations, I have managed to create super-impositions, multiple exposures, animations, and lap dissolves with remarkable precision and minimal effort.\n\nPreviously, when I aimed to create double exposures, lap dissolves, and so on, I\n\n(Note: The text appears to be written in clear English and does not require extensive cleaning. However, a few minor corrections have been made for clarity.)\nI. My leader and scenes were timed for the effects, using the second hand on my watch. In time, I grew dissatisfied with this method and decided my camera should perform this task. The gadgeteer in me got busy. I devised and incorporated an audible timer into my camera, which proved to have more than a single use.\n\nFig. 1. Pointers indicate spring in cover and tips on camera film sprocket.\nFig. 2. Flat curtain rods permit drawing out and telescoping of working board.\nFig. 3. Supernumerary spindle shown on left of film viewer.\n\nTwo tiny lengths of spring brass were cut, about an eighth of an inch in width. These were bent in the shape of an L with the upright about 3/32 of an inch in height. The lower projection of each served as a soldering base and were secured, one directly opposite the other, on the surface of the large film sprocket.\nA long piece of the same material was cut to the width indicated for the height of the upright and soldered to the inner top edge of the camera cover. This strip was bent towards the sprocket. When the cover was in place, the tip encountered the short uprights briefly as it was caught and released during filming.\n\nThe film sprocket is exactly eight inches in circumference. Thus, a click was audibly apparent for every four inches of film exposed. It was just a matter of a short time until I learned the numbers of clicks necessary to run off the leader of a new roll of film, and this proved more accurate than the visual footage indicator built in the camera.\n\nIn making double or multiple exposures, it proved invaluable for timing the scenes to be used for special effects.\nFilmers often have occasion or desire to mask off scenes for multiple exposures. I used a small slip-on filter holder made for my camera with very good effect for holding a mask in position. The filter glass is held in place by a screw retaining ring. Removing the filter, I used it as a guide to cut a mask from black paper. This was cut in half and a section fitted in the holder which was slipped on the camera lens to mask off the portion of the scene not desired. When the unmasked portion of the scene had been exposed and the film had been run through the camera for the second time for the next exposure, I removed the mask. (February, 1939 - American Cinematographer 57) This timer proved its worth in noting the length of scenes during ordinary filming, thus eliminating any doubt as to whether the shot would be too short or too long.\nThe mask was rotated to cover the exposed section, ready for shooting on the unexposed portion of the film. With a wide-open lens, this mask, close to the objective, gave excellent results.\n\nThe editing board is extremely important in putting the finishing touches on our scenes. Without editing, we would generally have a hodgepodge of shots on our reel \u2013 mostly unrelated and in many cases running too long upon projection. This task is of paramount importance in smoothing out the production of the day.\n\nUsually, the rewinds, film viewer, and splicer are arranged on a long board that most of us find awkward to store due to its length. To do away with this undesirable feature, I cut my board to the shortest possible length with just sufficient room to mount my equipment.\nI sawed off the right end section of the board holding my rewind. Fastening flat curtain rods on the underside made it possible for me to draw out the right rewind to ample distance for comfortable use. By merely telescoping the unit, I found the minimum space was needed for storage (Fig. 2). As now manufactured, the Eastman film viewer I use requires a long board, as the left rewind has to be offset in order to thread the gate. I built a small arm with reel spindle, which I mounted on the viewer (Fig. 3 and 4). This permitted my film reel to rest near the viewer gate, and being in the same plane as the latter, my editing was simplified several times over. Those using this type viewer and not wishing to work with metal can easily mount a small wood upright on the editing board adjacent to the viewer.\nA bolt of the diameter of the hole in the reel can be secured to serve as a spindle. This helps more closely group editing accessories and facilitates the actual work involved in editing film.\n\nKeeping Track of Film\n\nVarious methods are used in editing to keep track of cut film for splicing. One of the simplest is to use spring clip clothespins threaded on a string\u2014each pin numbered in rotation to serve in identifying film cuttings from the work sheet. I worked up a more permanent arrangement from two cardboard folders commonly used for filing purposes.\n\nI bent the edges of one of the folders to form a shallow box, each section just deep enough to hold coils of cut film. Then, cutting long strips slightly more than my film width from the other folder, I glued them in criss-cross fashion.\nI. Finding twenty receptacles in each half of the shallow container, I numbered them for film identification (Fig. 5).\n\nFig. 5. Film editing receptacle ready for use with inner cover shown on the left.\n\nNext, I made an inner cover from the remaining half of the second folder. When it was necessary to discontinue work, I placed this between the two halves to prevent the film in the top section from dropping into the lower, closed the affair, and snapped a rubber band about it. In this manner, my cut film could be easily put away, free from dust, and quickly available for editing at the next opportunity.\n\nFig. 1. Reel in place on auxiliary spindle.\nFig. 6. Extra switch shown on lamp house; pilot light on base. Bolt for easy focusing visible on lens barrel.\nAre very helpful in preparing the film for projection. The latter deserves fair amount of attention, as during that function the results are brought to the scrutiny of others.\n\nLessening Noise\nMost projectors are rather noisy in operation, and a sponge rubber pad placed beneath it will appreciably lessen the noise. On many occasions, it has been my experience to hear the cry for lights upon completion of the show. Changing reels seems to be something we are unable to overcome; however, it should be done as painlessly as possible.\n\nTo overcome the light problem, I installed a double pole toggle switch on my projector lamp house. I cut one section into the projection lamp circuit and connected a pilot lamp to the other pole of the switch.\n\nWhen the reel ended, merely snapping off the projection lamp automatically.\nThe alley lit the pilot lamp, eliminating the unpleasant call or search for room lighting. The pilot lamp used for this purpose is of the type with a bakelite shield purchased in any dime store for a few cents. I mounted it on my projector base (Fig. 58 American Cinematographer Feb. 1920). This projector has a lens with a knurled end for finger grip during focusing. This is a bit awkward to handle, so I focused for my usual screen size \u2013 marked the outer edge of the lens barrel and drilled a small hole in it just large enough to accommodate the end of a small bolt about three-quarters of an inch long.\n\nThe advent of metal film for practical use took place in November 1938. Previous articles in this magazine have detailed the history and technical development of metal film since its inception.\nThe first decade of this century. Executives, exhibitors, and experts in the motion picture field have witnessed demonstrations of pictures and sound from metal film. They were unanimous in their opinion that metal film has an immediate and widespread use in the entire projection field. The writer is grateful for the flood of inquiries which followed the appearance of the previous articles and takes this opportunity to discuss and answer some of the principal problems and queries presented in the correspondence. It should be stated at the outset that metal film will in no way jeopardize the present status of professional motion picture operators. It is true that the fire hazard has been completely eliminated. It is also an established fact that metal film will not break or tear in its passage through the projection machine. Concentrate on projection.\nWith the removal of these hazards, the operator will be better able to concentrate on his main objective, the superior projection of motion pictures. The first machine used for the projection of metal film was an adaptation of a standard model with gate, optical system, and soundhead converted especially for this purpose. The machine was constructed to serve a double purpose. It could be used for the projection of both standard cellulose film and metal film. Changing from one to the other was a matter of a few seconds. For metal, the lamp is swung to the front, a special gate is put into position, and the metal film is threaded through the other soundhead, which is specifically constructed for metal film. This first machine gave us the basis for a fair comparison between metal and cellulose film.\nThe tests proved equal pictorial quality and slight sound superiority of metal film over celluloid film, projectable from the same machine under same conditions.\n\nPhysical Facts:\nFor those interested in the fundamental physical facts about metal film, we provide the following: The film is constructed from a special alloy, typically 0.003 inch thick; the image is on a highly reflective surface, and projection is by reflection from this surface.\n\nA reel of 1000 feet, 35 mm., weighs 6.2 pounds. The film can be spliced with a special cement in the usual manner. Threaded through the projection machine in the standard way, except for one sprocket leading to the reflecting soundhead. The film is not affected by heat.\nThe lamp's bulb doesn't shrink or stretch, and with regular maintenance, it lasts indefinitely. The optical system doesn't need condensers or any device to prevent the light ray from hitting the film directly. The full light power strikes the metal film as it passes through the gate aperture. The light reflects directly from the polished film surface through the lens to the screen. Details about the optical system can be found in the American Cinematographer for September 1938. This article also includes a reproduction of the actual reflection factor tests of metal film compared to ordinary film.\n\nIn these tests, metal film showed a reflection factor 12% higher than cellulose film. Concerns were raised about the potential noise metal film might make during its passage through the machine.\nThe demonstration proved that metal film is just as silent as standard film. The reason for this is that the film does not shrink or stretch, passing through the sprockets with mechanical precision.\n\nEmulsion Character\n\nImportant questions from various laboratories center around the character of the emulsion and the processes of printing and finishing. A positive print is made on a metal film with the same machine and in the same manner as a positive print on cellulose film. The negative is brought into contact with the sensitized metal and exposed to the source of light. The printing time on metal film for any given emulsion is less than for ordinary film. Developing is more rapid than usual, and the time for fixing and washing is about half that ordinarily required. The drying economy is the most remarkable.\nThe film may be dried in a cabinet at temperatures up to 450 degrees F. At this temperature, the film dries in 2.2 minutes. Emulsions on metal may have the same photographic values as those used on cellulose.\n\nWhere metal film is required as a negative, the exposure time in the camera and general photographic technique is the same as usual. The developing, fixing, washing, and drying of a metal film negative can be done in one-third the usual time.\n\nThe outstanding superiority of a metal film negative is the unusual absence of grain, coupled with positive permanence and practical indestructibility.\n\nAny Type Emulsion\n\nThe metal negative must be printed by optical printing. When prints on both sides of the metal are required, a standard Debrie printer may be used for this purpose. If this type of printer is not available, a different printer suitable for metal film must be used.\nNot available. Both sides of the film may be printed in a standard machine, and the whole then developed. Care should be exercised to keep the emulsion surfaces from scratching or abrading while in a wet condition. Any type of photographic emulsion may be coated upon our metal film. The essential physical requirement is the treatment of the emulsion together with the treatment of the metal base. This includes the necessary reduction of interfacial tension in the emulsion and the rendering of the metal surface compatible with such an emulsion.\n\nThe advantages of metal film from the laboratory angle are many and important. These include positive uniformity in the coefficients of expansion and contraction, the elimination of stretching and shrinking at all times and under all conditions.\nConditions and standardization are necessary in all operations due to the fixed factors inherent in metal film.\n\nLife of Cellulose\nWe believe that metal film is ideal for color work. It is well known that the passage of light through the cellulose base and three color film surfaces not only diffuses and refracts the light but seriously reduces its velocity.\n\nA color print on metal with its high reflecting surface gives a more luminous image on the screen than is obtainable with the ordinary color film currently in use.\n\nCoating, printing, developing, and projecting from metal film are based on fixed physical factors, and the making of color film can likewise be standardized.\n\nOur statement in a recent issue of a widely read weekly magazine that cellulose film would not last for 20 years was challenged by one of the distinguished scientists in the photo industry.\nIn our answer, we produced overwhelming evidence that this phase of the controversy is now closed. We regret insisting that cellulose films should not be relied upon for permanent records. Unbiased scientific investigation has established that cellulose film should not be used where an endurance of over ten years is essential. It is gratifying to know that valuable cellulose negatives now in existence can be printed on metal film with the positive assurance that they will endure indefinitely. Those engaged in aeronautical photography have been concerned with the adaptation of metal film for their purpose. We propose to produce an 8-inch roll of metal film in 500-foot lengths.\nWith a positive emulsion, this may be developed in the air and calculations carried out with utmost accuracy based on the fact that the metal expands and contracts equally over the entire surface. In case of fire, we have taken positive prints on a roll of metal with a positive solution, exposed the same, and secured the finished print in less than three minutes. Photographic development on a metal film is confined exclusively to the emulsion. In amidol or metol hydroquinone, development takes place in less than two seconds, washing; fixing may be done in 60 seconds; and final washing and drying over any heated unit in a further 60 seconds. We find the results of the prints are permanent and almost grainless. In case of fire, the image is not destroyed until the heat reaches the plate.\nIn conclusion, it is necessary to address the numerous inquiries from persons using 16 mm. film regarding the melting point of the metal. This is of particular interest to us, as we believe the intimate records of childhood and valued records of science and business deserve a permanent photographic medium. We are developing machines for projecting 16 mm. metal film as rapidly as possible, as we are convinced that the high costs in this field will be significantly reduced with the use of our film. This feature, along with the facts of positive non-inflammability and permanence, offers professionals and amateurs in the 16 mm. field something to look forward to with anticipation.\n\nMajor Contribution\nTo engineers, architects, and various craftsmen who require metal film for maps, diagrams, patterns, and many other applications, our film offers a significant contribution.\nWe are research engineers. As soon as capital cooperates with us, we will be able to produce the material and equipment to comply with various requests.\n\nIt's particularly gratifying that the new Bell & Howell film, \"How Motion Pictures Move and Talk,\" will have been shown on the screen in thousands of schools from coast to coast by the time this appears in print.\n\nThis fascinating educational film makes clear to all who see it the mechanical, electrical, and visual principles through which modern talking movie films are made possible.\n\nThe pictured story traces the production of a Hollywood feature release from the unperforated raw film to the eventual shipment of 16mm reduction sound prints in labeled metal containers.\nThe booklet titled \"The Documentary Film: History and Principles,\" written by Edward H. Schustack, Publication No. 2 of Film and Sprockets Society of City College of New York, illustrates the \"persistence of vision\" and the momentary retention of images. It can be obtained by addressing the Art department, City College, 139th Street and Convent avenue, New York City, and enclosing 25 cents. The film makes a significant contribution to the field of sound recording, with voice, music, and all sound reproduction phases. The sound track on our highly reflective metal ribbon has proven ideal for radio program reproduction. Both sides of the film can be used, and up to ten tracks can be printed on each side, providing 200 minutes of sound recording on 1000 feet.\nOne major application for metal film is in the field of permanent record. The opportunity now presents itself to record imperishably the words and deeds of our living great and distinguished men and women in the fields of science, literature, medicine, politics, and other ranges of human endeavor. What would we not give to see and hear the immortals who have made their impress upon the history of American civilization? The least we can do for coming generations is to let them see and hear, as well as read, the accumulated wisdom of our age. Education from books is a slow, laborious process; education from the silver screen is the tuition of the masters in person.\nThe illusion of motion on the motion picture screen is made possible by the functions of each successive cinematic machine: perforator, camera, developing machine, splicer, printer, projector. Each contributes its special bit to the production of the final sound-on-film motion picture product.\n\nThe Baby Keg-Lite of Bardwell & McAlister, Inc. has been found to be an ideal lamp for the new 750-watt globe introduced by the General Electric Company. Tests conducted at the BM plant demonstrate that the 750-watt globe provides the same lifespan as the 500-watt prefocus projection lamp, which has been used in studios for some time.\n\nDuring these tests, the lamp housing did not excessively heat up, and there was no trace of blistering or other globe deformation.\nThe  750-watt  light  unit  is  in  a  T-24 \nbulb  with  medium  bipost  base.  It  has \nthe  same  light  center  and  is  interchange\u00ac \nable  with  the  500-watt  T-20  medium \nbipost  lamp.  The  Baby  Keg-Lite  is \nregularly  supplied  with  either  this  new \nmedium  bipost  socket  or  the  older  pre\u00ac \nfocus  socket. \nA  recent  optional  feature  on  the  Baby \nKeg-Lite  is  a  collapsible  stand  which  can \nbe  conveniently  carried  in  a  small  space. \n60  American  Cinematographer  \u2022  February,  1939 \nKEEN  COMPETITION \nMARKS  1938  CONTEST \nBy  WILLIAM  STULL,  A.S.C. \nCOMPETITION  in  the  1938  Amer\u00ac \nican  Cinematographer  Interna\u00ac \ntional  Amateur  Movie  Contest  was \nkeener  than  ever  before.  As  one  who \nhas  participated  in  the  judging  of  vir\u00ac \ntually  all  of  these  affairs  since  the \nfirst  contest  in  1932  I  can  certify  that \nthe  judges  this  year  had  a  tougher \njob  than  ever  before. \nEvery  year  there  have  been  plenty \nOf outstanding films; this year there were more than ever. As a rule, there has been a well-marked gap between the winners and the honorable mentions and between these and the field. This year, on the other hand, the standard of competition had so advanced that these gaps had almost vanished. Virtually all of the winners of class awards were serious contenders for the grand prize; the final judging sessions required hair-splitting on a basis as strict as though an award for professional cinematography were being decided. In the same way, most of the winners of honorable mention proved perplexingly close to prize-winning caliber. And many of the unsung entries that made up the field merited honorable mentions; had the judges not been forced to draw the line somewhere!\n\nNation Builders\nJames Sherlock\u2019s \u201cNation Builders,\u201d\nIn winning the grand prize, it was won under the most exacting judgment. Technically, it was almost flawless; my own score sheet comments noted only one scene of less than professional phototechnical quality. Most remarkable was the smoothness of Sherlock's filter continuity throughout the 900-foot film. Repeatedly, we saw scenes where an unwary filmer might have been tempted to play to the gallery\u2014utilizing an opportunity for spectacular overcorrection, which by its very effectiveness would have distracted attention from the story the camera was trying to tell.\n\nSherlock instead held to a simple, normal correction\u2014underplaying his effect\u2014but keeping his camerawork a means to an end, rather than an end in itself. The majority of the titles in \"Nation Builders\" were double-exposed against moving backgrounds. Here\nThe technical skill used was of unusually high order. I have seen worse \"doubles\" in professional films, made with all the resources of studio optical printers. Achieving such results directly in the camera \u2014 and an amateur camera at that \u2014 is truly noteworthy. The subject of \"Nation Builders\" \u2014 the history of Australia \u2014 is without a doubt the most ambitious ever undertaken by any amateur filmer. Granted, in connection with the 150th anniversary of his nation's founding, there were pageants re-enacting historic events and an opportunity for an alert filmster to photograph them. But how many times have not other amateurs scored dismal failures trying the same thing?\n\nFilming such a pageant, it is all too easy to capture only the impression of the events rather than the essence.\nHistory being re-enacted. Sherlock's scenes gave a convincing impression of history actually happening. The twentieth century background, which must so often have been just beyond the camera-lines, was never permitted to intrude upon his eighteenth and nineteenth century action.\n\nOther similar sequences, as he described in his article last month, had to have been specially staged for his film. As far as the results on the screen go, there is nothing to choose between his staged sequences and the pageantry. If anything, the technical details of properties, costuming, and the like in his own scenes are more carefully done.\n\nAttending to the details of casting, costuming, make-up, locations and the like must have been a huge task. On the screen, only a smooth feeling of reality gives indication of how brilliantly these problems have been mastered.\nVolumes might be written about Sherlock's cutting in this film. Paralysis of the shears is a major malady among most of us when we come to editing our own films. \"Nation Builders\" is a visual sermon on the subject. With one exception, every sequence told its story fully yet so economically it leaves the audience always wishing for more. There is the secret of good editing!\n\nAnd \u2014 lest you think the editing was good because of lack of material \u2014 remember that the first assembly of this 16mm. epic measured 3,000 feet; the final version was only 900 feet.\n\nVida Pacima\n\nUntil Sherlock made it two in a row with \"To The Ships of Sidney\" followed by \"Nation Builders,\" but one man had captured the grand prize in these contests twice successively. This man, Randolph B. Clardy of the Los Angeles 8mm. Club, again made himself heard by winning the 1938 Photography Contest.\nAn 8mm color film, \"Vida Pacoima,\" presents an idyllic visual narrative of life on a typical Sunday in a small Mexican village in Southern California. The film can be appreciated from several perspectives. It is a triumph of pictorial cinematography. Enlarged frames from any of its scenes would be worthy of hanging in any of the world's great still-camera salons. As in his earlier films, Clardy demonstrates a unique understanding of cinematographic composition. He makes the pictorial elements of each scene play a vital, if unobtrusive, part in telling the story of his film.\n\nHis achievement will be appreciated even more by those with first-hand knowledge of California's Mexican communities. The writer who can fill his pages with picturesque local color and the painter who can ignore what he does not want seen on his canvas.\nThe man with a camera cannot conceal the squalor of the location or the intrinsic ugliness of wretched, ramshackle huts and shabbily-clad residents. He must, as a rule, picture what his lens sees, often with disillusioning fidelity. Clardy makes his camera see only the picturesque and further invests even the most commonplace scene - a rusty faucet, an abandoned shell used as a soap-dish, a complacent, ruminating goat - with beauty.\n\nFrom the technical viewpoint, this achievement is the more remarkable since virtually the entire two-reel production is of the \"candid\" variety, photographed without staging, and without the knowledge of the actors. Scarcely less than 90 percent of the scenes are telephoto shots, yet such technicalities as focus, exposure, and composition - always difficult in sub-standard telephoto work - are kept in amazingly good control.\n\"Vida Pacoima is one of those rare films that can tell its story completely without titles. The main title and the end title are, however, noteworthy examples of unique double-exposure title work.\n\nBeyond Manila\nTurn a capable cinematographer loose in the Philippines with an adequate supply of Kodachrome and you're almost bound to get a picture worth seeing. W.G. Hahn, of Baguio, Mountain Province, P.I., is evidently a more than ordinarily capable cinematographer. In a year in which the contest received an unusual number of films worth seeing, and in which more than 60 percent were in Kodachrome, Hahn's entry, \"Beyond Manila,\" was adjudged the best color film and crowded the chief winner for top honors.\n\nThe material laid before Hahn's camera \u2014 ranging from the cheerful tillers of the rice fields to the somber faces of the natives \u2014 was rich in color and contrast, and the cinematographer's skillful handling of the medium brought out the best in it.\"\nThrough the rice paddies, the Philippine West Point Cads drilled, to the barbaric \"canao\" celebrations of villagers less than a generation removed from head-hunting \u2013 this scene can only be described as ready-made photographic wealth. But to record it, as Hahn did, in a symphony of barbaric, yet not clashing colors, is a distinct achievement. Long after each viewing, the judges carried vivid mental impressions of bare bronze bodies contrasted against a background of lush greenery and tropical blue skies. Throughout nearly all the 900 feet of this film, Hahn apparently benefited from processing that leaned to the warm side. But his own appreciation of lighting, composition, and especially the chromatic significance of exposure, enhanced the subject-matter and made it a real achievement in color, rather than merely an interesting travelogue.\n\nRitual of the Dead\nThe scenario group this year brought out an unusual number of really excellent dramatic films. Cochran\u2019s \u201cPhantom of Suicide Gulch\u201d was a delightfully burlesqued Western, showcasing a sound grasp of production technique. William Mehring\u2019s \u201cPagliacci,\u201d while premised on an old theme and exhibiting minor technical faults, showcased one of the finest acting performances ever seen in an amateur film. James McCarthy\u2019s \u201cDangerous Border,\u201d another Western, was one of the finest examples of professionally smooth production and scenario writing we\u2019ve seen in an amateur film. But towering above these for sheer dramatic force and novelty was Richard Lyford\u2019s \u201cRitual of The Dead,\u201d the class winner. Melodramas \u2014 even ghost stories \u2014 are not new to amateur filming. But Lyford\u2019s film surpasses its rivals by virtue of its dramatic virility.\nThe elaborate attention to sets and costuming, and above all, by the dual performance of its maker as a callous murderer and as a 3,000-year-old mummy. In the latter role, Lyford's skill in make-up and impersonation can be compared only to such professionals as Boris Karloff and Lon Chaney. Save in the double-exposure shots, his photographic technique falls at times short of perfection. But in his capacity as director, he keeps a tempo and coherence \u2013 to say nothing of horrific suspense \u2013 seldom seen in non-professional product. His use of sound in the form of music, narration, and several sequences of spoken dialog, all recorded on discs, gives audible evidence of technical skill. It may be mentioned that \u201cRitual of the Dead\u201d \u2013 the first true sound film yet received in these contests \u2013 won its way through the preliminary judging.\nOnly the silent picture \"Ritual of the Dead\" received recognition solely based on its merits in the finals. The recorded sound enhanced the film, but most judges believed the film would have still secured its place without it.\n\nA year ago, S.A.C. member Earl Cochran of Colorado Springs submitted a burlesque \"gay nineties\" melodrama to the contest. When it didn't receive major awards, he requested honest criticism of the film's flaws. He took this feedback seriously, and one of his dramatic entries this year was a strong contender for top-flight honors in its class.\n\nHowever, during his vacation, Cochran ventured from his usual dramatic filming and used his camera to capture the scene at Yellowstone National Park. The resulting footage:\nTwo reels of exquisite 8mm Koda chrome film took the highest award in the scenic group, making Cochran the first member of the young and growing Society of Amateur Cinematographers to win major honors in the contest.\n\n\"Hot Water\" earned its place because its maker realized that a good scenic film requires more than just beautiful scenery and photography. A successful scenic film needs tempo, variety, and a pair of active shears. Cochran's film had them all.\n\nWith all due respect to the Yellowstone enthusiasts, it must be admitted that for photographic purposes, all geysers bear too great a resemblance. The same goes for their hot springs and mud springs. After showing your audience one of each, views of other individual geysers or springs are likely to become repetitious, no matter\nCochran realized the excellence of his photographs. He understood the boring effect of scenics that show long sequences of closely similar \"pet shots\" of each scenic feature. So, he managed a slightly different treatment of each geyser, hot spring, and \"paint pot.\" He kept his sequences short and graphic, varying his camera angles and lightings where more than one or two shots of a thing were required, almost completely avoiding repetition. Best of all, he cut things short and sweet \u2013 telling the story and moving quickly to the next point. Many older hands at cinematography could benefit from studying Cochran's technique in this respect.\n\nChicago, Vacation Center of the Nation\n\nThe winner of the documentary class award was Theodore D. Shaw from Chicago's Metro Movie Club, another competitor who chose an ambitious subject.\nCompressing the diversified sights of a day in a big city like Chicago into a single reel's footage is a terrific task. Doing so without achieving the stereotyped effect of a succession of picture postcards is harder. But Shaw has done so. He has kept the impression of hustle which is the soul of Chicago, without at any time losing pictorial force. His use of angle shots is notable. In addition, his color is of consistently high quality.\n\nTechnical faults there undoubtedly are \u2014 most of them probably unavoidable. For example, several scenes could have benefited from the use of a tripod, though it may well have been impractical to use one at the time. Another scene illustrates a pitfall many Kodachromers unsuspectingly fall into: faulty color composition.\n\nIn a beautifully composed longshot of a fountain in one of the parks, the colors are off, making the water appear an unnatural shade of green and the surrounding foliage an unnatural shade of red.\nThe viewer's eye is drawn forcefully from the center of interest by the too brilliant rendering of a green car parked in the immediate foreground. A few feet's difference in camera position would have avoided this. Yet, it is probable that to the filmer's eye, intent on details of focus and exposure, that green flivver was not nearly as noticeable as it later proved on the screen.\n\nShaw's treatment, however, tends in other ways to verify the contention, often expressed here, that the best Kodachrome does not need to follow rule book practice as to lighting. His opening sequence, made along the lake shore and river front at dawn, is a pictorial gem.\n\nAlso memorable are scenes made on the shadowed side of State Street, with part of the picture in brilliant afternoon sunlight and part deeply shaded by the adjacent buildings. Such scenes demonstrate Shaw's ability to manipulate lighting to create visually striking images.\nScenes - often photographically striking in themselves - lend reality to a film in a way no perfect, flat-lit \"rule-book\" scenes can.\n\nSanta Visits Elaine\n\nThe world's greatest and best negative - in every respect - is the verdict of every cameraman who has used it.\n\nJ. E. Brulatour, Inc. - DISTRIBUTORS -\n\nFebruary, American Cinematographer 63\n\nThe year was the home movie award. Long after the rest of the awards were comfortably decided, the judges ran and re-ran two films, striving to break the apparent unbreakable tie which had \"Shadow's Bones,\" an excellent dog picture made by Frank Gunnell of West New Brighton, NY, and \"Santa Visits Elaine,\" made by John Pohl of Cicero, Illinois, in a perfect neck-and-neck race.\n\"Santa Visits Elaine\" won by virtue of its greater production effort. The story is simple, excellently told in Kodachrome. Just the sort of thing any family could stage - little Elaine absorbs the Santa Claus legend, prepares for Santa's visit by being very good, Santa appears, Elaine enjoys her presents, and \"The End\" in an excellent title. But Elaine's papa, in filming this story, did an excellent job of the hardest kind of direction - letting a child (especially one's own!) be really natural on the screen. In addition to this, Pohl took advantage of a very simple camera trick to give his picture novelty. When Santa appeared, all he needed to do to move furniture out of his way was wave his arms and - presto! - the furniture vanished. In the same way, a few waves of the hand and toy stoves disappeared.\nThe velocipedes, Christmas tree, and the rest appeared in their places one after the other, in a manner most mystifying to the layman. To the camerawise, the answer is simple. At a command, Santa merely \"froze\" in position. The camera stopped. The furniture was moved out, and the camera restarted. Appearances of toys were done the same way; and wisely, after Santa's part in the magic was established in one or two shots, the others were shown without showing the actor. It's really surprising how a few simple camera tricks add general interest to the simplest home movie.\n\nEvery now and then a picture emerges which can't well be classified. And such rule breakers are generally so well done that they can't avoid winning honors, even if a special prize has to be created for them. This year, it was Carl Anderson's \"Jello\" which defied classification.\n\"Again, 150 feet of 16mm Kodachrome film shows animated Jello-cartons transformed into engaging dwarfs discussing the product's benefits and ease of making gelatin desserts. It was likely a good promotion for Jack Benny's favorite dessert, but also an impressive piece of film craftsmanship, particularly when achieved with amateur equipment. One hundred fifty feet of film may not seem significant. However, in the scene from M.G.M.\u2019s \u201cIce Follies of 1939,\u201d featuring Joan Crawford, James Stewart, and Lew Ayres, we are promised something sensational in a photographic way in this picture. At the left, the crew is depicted standing on water-covered ice. Behind the camera on this image is Oliver Marsh, A.S.C., responsible for the ice sequences; Joseph Ruttenberg, A.S.C., for the dramatic sequences; and W. Howard Greene, A.S.C., for the Technicolor sequences.\"\nThe subject is being directed by Reinhold Schunzel. The footage is from the camera of Frankie Tanner. Done by animation, painstakingly exposing one single frame at a time, then moving the tiny characters and exposing another, even this short footage becomes colossal. A foot and a half of good 16mm animation represents a mighty full-time day's work when one is working single-handed. Doing it as Anderson must have, in spare time and giving first attention to a job, making an animated film is a task which surpasses even Hollywood's favorite indications of gigantism.\n\nMore to the point, Anderson did his work very well. Animating three-dimensional figures, as he did, is infinitely harder than animating cartoon drawings. In drawings, one can compare successive drawings before photographing, to ensure that the phases of animation are smooth.\nInformation should be properly spaced. If a mistake is seen, an eraser and a few penciled lines will usually correct it. Animation, however, requires only visual judgment: the proof of the pudding does not appear until weeks later when, after painstakingly animating upward of 2,000 frames, the completed 50-foot roll comes back from the laboratory. If there are mistakes, the entire laborious process must be repeated.\n\nAnderson has secured some highly interesting effects by the use of colored overall lighting. Serious Kodachromers could well apply this technique to full scale scenes where bizarre effects are wanted. For instance, I'd like to see one of Richard Lyford's chillers Kodachromed-lit by lamps filtered with green or ghostly blue gels!\n\nFebruary, 1939\nAmerican Cinematographer\nCo-operation\nthe Key to\nCamera Award\nCo-operation - the cooperation of director, art director and cameraman - is the chief prerequisite to winning a photographic award. Disregarding any question of ability, individually or collectively, without this cooperation an award cannot be won.\n\nRay Rennahan, A.S.C., summarized this at the conclusion of a chat with the editor of this magazine. The Hollywood Reporter's critics' poll for the month of December named Ernest Palmer, A.S.C., and Ray Rennahan, A.S.C., as joint winners of the photographic award for their work on Twentieth Century-Fox's \"Kentucky.\" The last named is a staff photographer for Technicolor and the former for the production company.\n\nRennahan paid his respects to his associate on the picture - and it was not in any casual, perfunctory or matter-of-form fashion.\nA man had not made any picture in color for years. The other was a star in black and white, but this was his first experience with Technicolor, and he was on his home soil where the Technicolor man was in a manner of speaking a visitor.\n\nBut in this instance, the Technicolor man was doing the talking. \"Ernie is more than a fine photographer,\" he declared. \"He is a serious student. He wants to know. And for every question he has a suggestion \u2014 and a good one.\"\n\nNo, Sir, that award was fifty-fifty. It was a pleasure to be tied in with him.\n\nBut in speaking of cooperation, Renahan also paid his respects to Dave Fittler, the director of \"Kentucky.\" The former had listed some of the factors.\nBlaisdell discussed the \"necessary evils\" for a cameraman, including scrims, diffusers, painters for hot spots, and other photographic devices. The camera setup often differed from the script's requirements, particularly for exteriors. Changing the angle a few degrees could bring the sky and clouds into the lens, enhancing the sequence. If not, following the script might mean sacrificing an hour or more to adjust the setup.\n\"It's just as hard to photograph a bad setup as a good one, Rennahan explained. \"If you're allowed to change an angle, you get excellent results. And that was the case with Dave Butler; his pride rode on how the picture would look on the screen. He gave us all the breaks we asked for in selecting angles favorable to lighting conditions. So, too, is an art director. A situation may arise in an interior where a slight shift in setup will improve the conditions.\"\"\nAvoid a lot of trouble \u2013 and of course result in photographic improvement. Mind you, I am not pleading for the other factors to give way to the photographer just to save time \u2013 for the photographer. The director and the art director may have their own reasons for maintaining their original position, good and sufficient reasons. It would be an unreasonable cameraman who would expect them to do otherwise. But the point I desired to make was that in creating \u2018Kentucky\u2019, there was all-around cooperation \u2013 between the cameramen and the camera crew and between them and the director and art director.\n\nVaried Experience\nRay Rennahan\u2019s early experience was in black and white in the laboratory of the National Film Corporation and from that work to a spot as assistant cameraman. Then as cameraman, he worked for Ben Hampton Productions,\nThe studio later taken over by United Artists, then Hollywood Studios (now known as General Service), and Triangle with Harry Aitken. In 1921, Rennahan was employed by Technicolor, which sent a group from Boston to Hollywood for research work under studio conditions. The engagement was initially announced for three weeks. It was then decided to produce a short film titled \"Toll of the Sea,\" designed as a two-reeler. The picture looked so promising to the producers that it was expanded into a five-reeler and a special feature by Metro. Two cameramen were on the picture. (February, 1939 - American Cinematographer 65) One of them, incidentally, was John Arnold, A.S.C., later president of the American Society of Cinematographers for seven years and head of the camera department of\nM.G.M's Arnold was the first camera man on the subject. Rennahan developed the negative. When Arnold was called back to Metro, Rennahan finished the film and later developed and sent it to Boston. Doctor Kalmus, president of Technicolor, in an address last fall before the Society of Motion Picture Engineers stated the picture was manufactured in the original plant in Brookline Avenue at a cost of 27 cents a foot. The subject, which was the first Technicolor produced by the subtractive method, grossed over $8,250,000. The doctor also mentioned that every step of the production work was closely followed by executives in the industry, so marked was the interest. There was another black and white engagement after the Technicolor laboratory was closed, but it was short.\nOne unexpectedly, just after its unfolding, came an even more unexpected wire from Technicolor to New York. Compliance was immediate. From New York, he moved on to Boston to work in the Technicolor plant. Following a short stay there, Rennahan was ordered to join the company being formed to go to Hollywood, where headquarters were established in the National Studios. The first assignment there was the color work on \"The Ten Commandments\" featuring Billy Dove, Noah Berry, and Jack Holt. It was a success upon its release in July 1924, and materially contributed to the rating of the players.\n\nIn 1929, at the time of the shift to sound pictures, Technicolor had the largest camera department of any company.\nA leading company in the world during the depression's influence experienced a more unsettled condition due to the transition to sound. Although few features were being produced, there were a good number of musicals and other shorts. The two-color process was used in all Technicolor subjects, while the research department was steadily working on three colors. Eventually, the present three-color camera was designed and put into testing. The majority of the first subjects were of cartoons.\n\nJock Whitney then entered with his 2200-foot \"La Cucuracha,\" which proved a great success, recording possibly the largest number of runnings in some cases, up to six to eight performances a day.\n\nProduction in three colors was found to be as practical as in two colors, with perhaps the only handicap.\nCap issues arising from color fluctuation and flicker coming from the arcs were remedied by new devices provided by Mole-Richardson. Other inventions coming along have contributed further to establishing Technicolor lighting on a level with black and white. Rennahan's most novel experience in making color pictures came in 1936 when he went to England to make \"Wings of the Morning\" at the Denham Studio. It was the first three-color subject to be filmed in that country. The cameraman was quite alone in terms of experience in three-color or any color. This applied to the director, the remainder of the camera crew, the art director, and the men in the electrical department, who incidentally were acquainted exclusively with incandescent and not with carbon lamps.\nMrs. Kalmus was the only person on the staff other than the many black and white cameramen. They looked with some and considerable concern upon any immediate prospect of working on a color picture - a three-color picture to be precise, on a Technicolor subject. Ernest Palmer, A.S.C., made this remark in a late afternoon in late January in a casual, matter-of-fact way. A noticeable twinkle appeared in his usually serious eyes. But if their experience parallels mine on 'Kentucky' for Twentieth Century-Fox, they should save some of that concern for use on their first assignment on black and white following their experienced color cameraman. The picture had been made on a black and white schedule, as when it was drafted, there had been no color process available.\nThe picture had been shot for exteriors in England and Ireland. Asked about the greens he had found in Ireland, the cameraman waxed enthusiastic. \"Gorgeous,\" was his enthusiastic response, \"and so luminous. Of course, it would be that way because of the amount of moisture and water. Then there is a soft light, due to the prevailing haze. Sometimes the light is too soft. The picture turned out well. I thought it was swell. It proved to be one of the biggest money-makers of the year in England. While it did not do as much in this country, it was well received. But it all went to prove that after all, real cooperation, and I had real cooperation on 'Wings of the Morning,' will overcome handicaps.\nPalmer tells of experiences in making \"Kentucky,\" his first assignment in Technicolor. He classified the jolt from color to black and white as practically insurmountable, especially since he stepped back into a black and white subject after coming from Kentucky. However, there is one consolation - it is only for a very brief time. They will find themselves quickly back in their old stride.\n\nPalmer had been discussing his experiences in the making of \"Kentucky,\" his first assignment in Technicolor. As noted in the story about Ray Rennahan, his Technicolor associate on the picture, there is an unusual situation in the making of a color film for a major company.\n\nPalmer was assigned by Twentieth Century-Fox to be responsible for the subject's production, with that responsibility resting on him.\nHis shoulders. Yet, as a matter of fact, outside of his work with Kodachrome and in two-color film, he was unfamiliar with the mass of details that flow along with a three-color Technicolor subject. Regularly, there wasn't a month or week when a similar situation didn't arise in the studios clustered around Hollywood. After a quarter-century behind a professional studio camera, he wanted the best product obtainable. To guarantee as close an approach to that end as possible, he decided to go to Technicolor and seek to acquire as much information as possible before the beginning of shooting. Palmer chose to go to the tops in the way of authority in the camera work of Technicolor. He sought out George Cave, manager of the camera department, and Robert Riley, his chief aid. First, in Twentieth Century-Fox.\nA man's mind was the identity of the man to be assigned to the picture by Technicolor. He was asked if Ray Rennahan would be all right with him. Assurance was prompt and hearty that nothing could be finer. There were many consultations with one or all of the three men, with advice as to what to do and what not to do. As a result, there was a much different outlook on Palmer's part when it came time to undertake actual shooting.\n\nTold what Rennahan had said regarding the cooperation that was evident throughout the making of the picture, Palmer was agreed the remarks were absolutely true. He said if personally he had erred in judgment, Rennahan was quick to set him right. And when told Rennahan had praised the cooperation of Director Dave Butler again, the reply was in affirmation.\n\nPalmer remarked it had been his good fortune.\nButler had directed one-half or two-thirds of the pictures, but found Butler always thought of the picture first and himself afterward. During the filming of \"Seventh Heaven\" by Borzage in 1926-7, Butler's competent portrayal of Goban, the street sweeper, led Borzage to ask, \"Why don't you direct?\" Shortly after, Butler began directing, with Palmer usually present. The excellence of Solly Halperin, A.S.C.'s process shots in \"Kentucky\" also contributed to its success in the Hollywood Reporter's critics' poll, with many of these shots present.\nCave and Riley were invaluable in providing the benefits of the information Technicolor had acquired in the process field. Palmer noted another point in contrast between black and white work and in the field of color. In the former, the camera man concentrates more on the people on a set and the background is secondary. It is different in shooting color. In the latter case, the background must not be secondary. In many instances, bringing out the color in the background is essential.\n\nReports have been received in Los Angeles by the Italian Consulate that Tony Gaudio, A.S.C., has been named by King Victor Emmanuel III as a cavaliere of the Crown of Italy. The cameraman has been in the United States since 1908 and has photographed many well-known American players in the intervening years.\nTwo years ago, Gaudio was awarded photographic honors by the Academy for work with his camera on \"Anthony Adverse.\" In his riper years, he is still among the tops. In the Hollywood Critics' poll for December releases, he was awarded the highest vote among straight black and white photographers for his camera work on \"Dawn Patrol.\" There were two pictures that came in ahead of him, but they were both in Technicolor. The Academy restricts its awards to black and white subjects. The background, bringing out the beauty of the setting, materially enhances the appearance of the players. \"If you would give your players the advantage of color,\" declared Palmer, \"you must be careful of your lighting.\" The cinematographer's first camera work was with the old Imp company in New York. The Imp, so called because\nThe full name of the company was Independent Moving Pictures. It was the company that marked Carl Laemmle's entrance into production in the industry and was the father of Universal. They produced \"Ivanhoe\" in Wales. The studio was in Eleventh avenue in New York City. Many well-known players had their introduction to the motion picture public with the company. When the company went abroad to make \"Ivanhoe,\" it was under the direction of Herbert Brenon, with King Baggot heading the players. Palmer accompanied as cameraman. It was one of the first American companies to go abroad.\n\nRemarkably, \"Ivanhoe\" was not photographed in Scotland but in Wales, in New Chepstowe castle. Palmer met George Loane Tucker in England, for whom he later photographed the famous \"Miracle Man\" at the Brunton Studios in Hollywood.\nOne of the larger subjects Palmer has made in more recent years was \"Cavalcade,\" directed by Frank Lloyd. This picture, in spite of its size and importance, was made on a short schedule. This achievement was due, the camera man explained, to Lloyd's thoroughness in preparation, his knowledge of English life and customs, and his real enthusiasm for the story \u2013 an enthusiasm that might be translated into inspiration. Here, Ernie Palmer undoubtedly has laid down the best analysis of why \"Cavalcade\" was voted in 1934 by the Academy membership as the best production, the best directed picture, and the highest subject in art direction. It was the period in which the Academy had extended its stated award term to December 31, thereby lengthening that year.\nUsual twelve to fourteen months. It is simpler to win as it must be more difficult to lose when the director is a hound for preparation, having his own mind set before the start on what every sequence shall contain and the order in which it shall be presented; knowing the background of the story as well as the traditions and feelings of the men and women who people it; inspiring his crew and players with his own enthusiasm.\n\nWilloughby\u2019s, 110 West Thirty-second street, New York, has been appointed distributors for the Miller Fold-O-Flector Junior and the Iras adjustable lens shade and filter holder.\n\nFebruary, 1939 \u2022 American Cinematographer\n\nReliability\nEASTMAN Plus-X for general studio work\n. . . Super-XX for all difficult exposures . . .\nBackground-X for backgrounds and all-round exterior work. . . .\nAll three of these\nnew  negative  films  have  special  features \nsuited  to  their  particular  fields  . . .  plus  the \ntypical  Eastman  reliability  that  has  served \nthe  industry  so  well  in  the  past.  Eastman \nKodak  Company,  Rochester,  N.  Y.  (J.  E. \nBrulatour,  Inc.,  Distributors,  Fort  Lee, \nChicago.  Hollywood.) \nEASTMAN  Plus-X . . . \nSuper-XX ...  Buchground-X \n68  American  Cinematographer  \u2022  February,  1939 \nLIGHTING \nTHE  NEW \nFILMS \nFAST  FILM  is  unquestionably  the \ntechnical  topic  of  the  day.  The  re\u00ac \ncent  introduction  of  two  sensation\u00ac \nally  faster  production-type  emulsions \u2014 \nAgfa\u2019s  \u201cSupreme\u201d  and  Eastman\u2019s  \u201cPlus \nX\u201d \u2014 offered  cinematographers  a  revolu- \ntionarily  improved  material  upon  which \nto  work.  At  the  same  time,  the  tremen\u00ac \ndously  increased  speed  of  the  new  films \n\u2014 fully  twice  that  of  previous  films \u2014 \ngave  rise  to  new  problems  in  putting \nthese  emulsions  to  practical  use. \nA  basically  important  aspect  of  the \nThe problem is lighting. The new emulsions require far less light to achieve a normal exposure. How can this reduction in exposure be accomplished? In theory, several methods present themselves: which is the most practical? Additionally, what detail differences in lighting technique for the old and new films exist to trap the unwary newcomer in plus-speed filming?\n\nSince the new films are only just finding their way into general use, many have not yet had the opportunity to discover the answers to all of these questions. From among those members of the A.S.C. who have actually used the new films on productions, the following opinions have been gathered in the hope that they will in some measure make things easier for others who are just beginning their personal use of these newest cinematerials.\nTEDDY TETZLAFF, A.S.C., is the first to use the new Eastman product, Plus X, in filming Paramount's \"Cafe Society.\" He states, \"By reducing the average intensity of my lighting between 35 and 40 percent.\" This is a relatively simple matter. The electrical department did most of it for me by fitting smaller globes in my lamps. They replaced the usual 2000-watt globes in 18s and Juniors with 1000-watt ones, and in the larger units, they replaced 5000-watt globes with 2-kW ones. Some of the smaller units, such as \"broads\" and \"rifles,\" cannot be fitted with smaller globes as they are designed specifically for the 1000-watt PS52 globe. A 750-watt PS52 globe of the same dimensions is now available.\nLamps are therefore either used with more diffusion or moved farther back. The big thing to remember in changing films and making such a reduction in lighting is that in changing the intensity of the lighting, the balance must not be altered. Don't, for instance, make all the reduction in your highlight levels or in your shadow levels; if you do, the balance as a whole will be thrown off. The results will not be good photography, and you will find yourself blaming the film instead of yourself for what is really a mistake in lighting. For the rest, don't become too overwhelmed at the changed speed of the new film. Take it in stride! If, as is sometimes necessary, you have to change films with too little opportunity for making advance tests, change your lighting gradually, making the obvious reductions.\nWilliam Mellor, A.S.C.: Keep your balance normal when first using fast films like Eastman or Agfa. Maintain a normal lighting balance and explore the new film's possibilities with pleasure. With ordinary film, there's a definite relationship between the most intense highlight and deepest shadow. With fast films, this relationship is more crucial than ever, as the film experts explain, due to a combination of a slightly reduced latitude.\nThe sharper break in the H. & D. curve and the changed printing quality of the far finer grained negative result in the need to pay closer attention to highlights. In practical terms, this means watching your highlights as they can \"burn up\" with the new film if they are even slightly overexposed. Previously, highlights could be quite bright without significantly impacting print quality. The old adage was \"Expose for the shadows, and the highlights will take care of themselves.\" However, with the new film, we must prioritize watching the highlights, while the shadows can largely take care of themselves. Additionally, use smaller globes than usual for lighting, and consider using smaller floor units or moving standard units.\nI. Balancing Elements with New Film: A Tip from Arthur Edelson, A.S.C.\n\nArthur Edelson, A.S.C., has recently completed a film on Plus X. The new film posed challenges, but the results on the screen justify the effort. The essence of working with the new film lies in maintaining normal lighting balance despite having less light.\n\nBalancing Lighting with \"Baby Juniors\"\n\nThe key to using the new film is keeping your lighting balance regular, even with reduced lighting. I've decreased my lighting level primarily by employing smaller globes and lamps. However, it appears impractical to use fewer lamps, as lighting balance relies on both angle and intensity. We must still maintain our established number of lighting angles for any scene, regardless of the amount of light.\nPersonally, I\u2019ve been lighting my sets largely with Babies and baby spots modernized with Fresnel lenses. The speed of the new film is such that it is uncanny what can be done with these tiny 500-watt units. And where larger units are necessary, Juniors and 18s fitted with 1000-watt globes instead of the usual 2-kw ones do the trick. If you can just remember to keep your lighting normally balanced, regardless of the reduction in overall intensity, you\u2019ll find that the increased speed of Plus X is only part of the story. The real thing is improved photographic quality in every respect. That, rather than mere speed, is what makes the new film such a tremendous improvement.\n\nLighting is easier with the new film than with the old. The film itself now does the separation of planes.\n\n- L. William O\u2019Connell, A.S.C.\nHalf the work of separating different planes in your picture is accomplished. People stand out more clearly from their backgrounds. Even separating planes in close shots, the little matter of keeping a coat lapel from blending into the background of the garment\u2014of giving an illusion of depth to faces and figures\u2014is easier with the new film. Far less backlighting is needed. The film itself does half the work that backlighting used to do. As a result, we get more natural-looking pictures.\n\nGaetano Gaudio, A.SC: It was one of the luckiest things that ever happened for me that Plus-X came out when it did. I was just about to start \"Juarez\"\u2014one of Warner Brothers\u2019 biggest films. It seemed just made for the new film\u2014highly pictorial, and all through it called for dramatic, low-key lighting effects. (February, 1939, American Cinematographer 69)\nI had just enough time to test the new film adequately and then step right into production with it. I'm getting more beautiful results with this new film than I ever got before on any film. I don't think I ever received so many compliments on \"rushes\" before.\n\nLighting the new film, you've got to be sure of balance \u2013 but you can do what all of us have wanted to do for years: you can come down to almost natural lighting levels. And in low-key shadows where on the old film you saw just a heavy mass of black graininess, now you see a real shadow.\n\nA good meter, like the General Electric, is a big help in keeping your lighting balanced. On most shots, I keep my key light at about 50 foot-candles. With the old film, I'd have had to use 150 or 200 foot-candles. This means smaller, lower-powered units. With the old film, I'd use, say, a 1000-watt bulb.\nI use Baby Juniors for my keylight and fill in with Junior lamps. Now I use Baby Juniors for my keylight! These Fresnel-lensed Solarspots and the new film were made for each other. In fact, the smooth beams of all those Fresnel-lensed Solarspots are ideal for the new film because they don't give you any hot spots or shadows to worry about.\n\nThe electrical department has rigged my sets with the usual 18s and Juniors, all equipped with half-sized globes for the new film. But even in long shots, I haven't had to use more than a third of the units available. In closer shots, I'll have perhaps one or two overhead spots in use, and do the rest of my lighting with Baby Juniors and heavily-silked broads on the stage floor. On low-roofed stages, I've had to turn out the ceiling-work lamps when shooting. Using these smaller units is easier.\nPut the light just where you want it. Doing it with baby spotlights, you can get your lamps into places where they'll do the most good \u2013 even in cramped quarters where you could never put a bigger lamp.\n\nWe've developed a marvelous new lamp for giving a soft front-lighting on close-ups of women. It is a fluorescent-tube lamp that looks something like the old Cooper-Hewitt tubes we used years ago, but much smaller. It employs a new fluorescent mercury vapor tube developed by General Electric, intended originally for house lighting. It gives a very soft blue-white light.\n\nUsed for a front light for faces, it is wonderful how it irons out wrinkles. The tube is big enough \u2013 about two feet long \u2013 and two tubes are used in each lamp \u2013 so that the lighting seems to come from all directions \u2013 front, top, sides and underneath \u2013 giving a perfect, shadowless foundation light.\nThese tubes couldn't be used with the old film. They are rated at only 20 watts: they don't give enough light to pick up on ordinary emulsion! But they are perfect for the new fast films.\n\nTheodor Sparkuhl, A.S.C. (just commencing \u201cB'eau Geste\u201d): Since I'm only beginning my first picture on the new film, I don't feel I can say much about its use. But it seems logical to me that it may change our method of lighting back to something like those we used some years ago. That is, first lay down a foundation of soft general lighting, and build up the halftones and highlights from this, rather than the other way around.\n\nVictor Milner, A.S.C.: The new fast film is without doubt the most important photographic advancement in a long time. The cinematographer has to be far more alert using the new film \u2014 in making \u201cUnion Pacific\u201d I've worked diligently.\nBut the new film presents challenges harder than ever before in my life, yet the results on the screen, in terms of better, more expressive photography, are worth it. However, if we limit our thinking about the new film to the simple fact that we can use less light, we are missing half the possibilities of the new emulsions.\n\nFlexible Technique\n\nWe have a film which needs less light for an exposure. Using smaller globes to put less light on the set is one way to utilize this quality. With the ordinary film, we developed a technique of altering the key of our lighting to match the dramatic mood of the action. With the new film, we can add to this idea, making the camera more expressive than ever.\n\nFor instance, the other day I had a scene in an old-time western saloon and dance hall. It was a big set, bright and full of picturesque action.\nUsing the new film, that scene could have been lit with half the light I actually used. But instead, I used what would be about a normal lighting for the old film \u2014 and compensated by stopping down my lens. This way I gained in depth and crispness in a way that enhanced the mood of the shot. At other times, I felt it best to lower my lighting level and keep my lens rather well open. This gave me softness and a naturalness better suited to that particular action. And when the action calls for such things, the possibilities of the new film for effect lightings seem endless. For this reason, I feel that any attempt to set down rigid rules for lighting the new film is wrong. It can close our eyes to opportunities the new film offers for making cinematography more expressive. We\u2019ve always prided ourselves on the thought that cinematography is as artistic an expression as any painter's palette or poet's pen.\nThis new film expands the expressiveness of a medium as a great orchestra. It makes it possible for us to run the scale between extremely soft, naturalesque low-level lightings (50 foot-candles or less), shot with full lens apertures, to the opposite extreme of higher-level illumination (perhaps as high as 200 foot-candles or more) exposed at greatly reduced apertures for a new and greater depth and crispness. But we must keep ourselves mentally free to use these opportunities to the full, playing each scene visually for its best dramatic values.\n\n50 Foot-Candle Level\n\nCharles Rosher, A.S.C. (working on a large, stage-built exterior set for Warners\u2019 \u201cHell\u2019s Kitchen\u201d): Just look around you, if you think this new film isn't fast. This is lit for a full daylight effect: but the highest light intensity is only 50 foot-candles by my G.E. meter.\nIt comes from that H. I. Arc's spotlight over there \u2013 nearly 100 feet away. With the old film, it wouldn't pick up. With Plus X, it will do so strongly. The rest of the lighting graduates downward from this 50 foot-candle level. Working at these low levels, a meter is a tremendous help in checking the fine distinctions in illumination between highlights, halftones and shadows. I've noticed one little detail which should be watched in using Plus X. Greater care must be used on \"goboing off\" lamps. If they are not shielded carefully, stray rays which in the past could be ignored will have a visible effect on the new, faster film. For instance, you see that \"sky pan\" illuminating the backing at the side, 35 or 40 feet from the action? Light escaping around its reflector is definitely helping illuminate the players down here.\nSmall film sets require more selective and better shielded lighting units. The increased film speed should be considered when working with individuals having ruddy or florid complexions, as it accentuates red tones. Grant Mitchell, who appears in this film, has worked without makeup in many films I've photographed. However, due to the way the new film enhances his natural coloring, he wears make-up for the first time. These details are important, but more broadly, this new film, when used with modern meters, lighting equipment, and other improvements, offers a lasting enhancement to cinematography.\n\n70 American Cinematographer \u2022 February, 1939\nEditing\nOdd Footage\nBy Ormal I. Spmngman\nPhotographs by the writer (and his 16mm. frame enlargements from \"Hellroarin' Heaven,\" using Eastman 16mm. frame enlarger).\n\nThis person should never be found filming among the angels, yet this - believe it or not - is the inside story of \"Hell-roarin' Heaven.\" This is how it was conceived from the vaguest idea, grew out of a spasm of odds and ends filming, and finally blossomed forth as an allegedly pretty 400-foot 16mm. Kodachrome reel, synchronized with lump-in-throat music.\n\nA play-by-play review of the film from start to finish might reveal possibilities for revamping or re-editing odd footage from your personal library into longer features holding much greater audience appeal.\n\nIf you have been led to believe that continuity is everything in home movies, you may be surprised to learn of the miraculous changes which occur.\nMay be wrought over a splicing block.\n\n\"Hellroarin' Heaven\" was no less than two years in the making. This does not mean that it required this lengthy interval for the actual filming and editing. But it did take every last minute for the writer to decide what this film finally was to be. Even at that, this thing isn't final. Any minute now I might swing off on another tangent.\n\nThat Sort of Film\nOne member of the audience attending a preview of the film couldn't quite decide whether I'd been dropped when I was a baby or whether I had just plumb bumped my head against a wall. It is that sort of film. It is probably the most serious outdoor thing I have ever attempted.\n\nAn ardent admirer of Joyce Kilmer's poem \"Trees\" and the tune of similar name, I first fumbled with the idea of synchronizing color footage.\nI of trees and clouds to this mellow music. Selecting a spring day when the sky was billowing with cloud puffs, I tried framing scenics under droopy branches or shooting vertically through tree tops. I caught the flutter of a lone oak leaf against a cloud background. Even the rapid movement of the clouds themselves was indeed fascinating.\n\nAlthough I had my tree-and-cloud footage well in hand, somehow I never did get around to purchasing the necessary recording.\n\nThen hell broke loose in the upper Mississippi, and floodwaters started sprawling all over the landscape. North of here, water was running eight feet over our much-prized smallmouth bass fishing holes. Logs and other debris were coasting downstream over the muddiest of rivers.\n\nIt was a busy week for filming. I took colored long shots of the swollen waters, close-ups of choked channels and midget dribblings.\nThe lapping of water against half-submerged tree trunks, near shots of weed tangles in mid-stream, and long shots of the silvery surface through sagging willows added realism to the river reel. When I sat down to edit this footage, I hit upon a better idea. Why not cut up the river scenes, splice in a sprinkling of the salvaged cloud-and-tree stuff, and turn out a new film synchronized to \"01' Man River,\" or one of the other \"Show Boat\" recordings? For hours, I listened to different recordings. One had too much vocal; another was weak instrumentally. And so the river footage also was temporarily shelved. Then one day last summer, my car wheels were pointed toward a setting sun, and when I finally came to a stop, a thousand miles distant, I was in western Montana, and there was a pack trip in the offing. No ordinary pack trip, this. We took horses and camped along the banks of crystal clear rivers, under the vast Montana sky. The days were filled with adventure, from hiking through the mountains to fishing in pristine waters. The evenings were spent around the campfire, sharing stories and enjoying the peace and tranquility of the wilderness. This was a journey I would never forget.\nFive horses, no guides. We had enough grub for our five-day journey to last us a month. We set out for Hell-roaring country, one of Montana's wildest and most beautiful sections of timber, located up in Yellowstone's attic.\n\nWhen we came to rest, we were raft-drifting and fly-casting on a mountain lake teeming with trout.\n\nMare Hogs Camera\n\nAnybody who has ever wet a fly knows how hard it is to put aside the rod and pick up the movie camera when the whoppers are biting to right and left. Any pack-tripper who has ever climbed aboard a horse knows the difficulty of either shooting movies from atop the critter or dismounting or riding far enough ahead to take shots of the approaching pack train.\n\nOn our trip, we had an old mare who was so camera-conscious she would freeze in her tracks and hold up the whole parade whenever I unpackaged my equipment.\nEvery man dreams of some far-away Utopia, bliss be may never know. Yet the dream is his contentment, his heaven on earth, his priceless Eden. Perhaps you dream of an eternity spent on a cloud-swept hillside. Examples of this are a trickling stream or a gazy river. Perhaps the early morning swish of wings is sweet music to your ears. Deep in the West lies Hellroarin', wilder than a bronc, more beautiful than Paradise, whose trails know only the tread of pack.\n\nMy camera. Consequently, much of my shooting was reduced to more or less experimental scenes which fit the continuity, featuring completely backlighted views, close-ups showing the play of rippled water reflected by sunlight on the face of my fellow angler.\n\nFebruary, 1939 \u2022 American Cinematographer\nPainted with Kodachrome by Onmat J. Spnungman, Minneapolis.\n\n<HeWnoanin' <Heai>\u00a3n>\n\nEvery man dreams of some far-away Utopia, bliss be it may never know. Yet the dream is his contentment, his heaven on earth, his priceless Eden. Perhaps you dream of an eternity spent on a cloud-swept hillside. Examples of this are a trickling stream or a gazy river. Perhaps the early morning swish of wings is sweet music to your ears. Deep in the West lies Hellroarin', wilder than a bronc, more beautiful than Paradise, whose trails know only the tread of pack.\n\nMy camera. Due to circumstances, most of my shooting was reduced to experimental scenes that fit the continuity. These scenes included completely backlit views, close-ups of the play of rippled water reflected by sunlight on the face of my fellow angler.\n\nFebruary, 1939 \u2022 American Cinematographer\nPainted with Kodachrome by Onmat J. Spnungman, Minneapolis.\n\n<HeWnoanin' <Heai>\u00a3n>\n\nEvery man dreams of some far-away Utopia, bliss be it may never know. Yet the dream is his contentment, his heaven on earth, his priceless Eden. Perhaps you dream of an eternity spent on a cloud-swept hillside. Examples of this are a trickling stream or a gazy river. Perhaps the early morning swish of wings is sweet music to your ears. Deep in the West lies Hellroarin', wilder than a bronc, more beautiful than Paradise, whose trails know only the tread of pack.\n\nMy camera. Due to the circumstances, a significant portion of my shooting was transformed into experimental scenes that fit the continuity. These scenes consisted of completely backlit views, close-ups of the play of rippled water reflected by sunlight on the face of my fellow angler.\n\nFebruary, 1939 \u2022 American Cinematographer\nPainted with Kodachrome by Onmat J. Spnungman, Minneapolis.\n\n<HeWnoanin' <Heai>\u00a3n>\n\nEvery man dreams of some far-away Utopia, bliss be it may never know. Yet the dream is his contentment, his heaven on earth, his priceless Eden. Perhaps you dream of an eternity spent on a cloud-swept hillside. Examples of this are a trickling stream or a gazy river. Perhaps the early morning swish of wings is sweet music to your ears. Deep in the West lies Hellroarin', wilder than a bronc, more beautiful than Paradise, whose trails know only the tread of pack.\n\nMy camera. Due to the situation, a large portion of my shooting was converted into experimental scenes that fit the continuity. These scenes included completely backlit views, close-ups of the play of rippled water reflected by sunlight on the face of my fellow angler.\n\nFebruary, 1939 \u2022 American Cinematographer\nPainted with Kodachrome by Onmat J. Spnungman, Minneapolis.\n\n<HeWnoanin' <Heai>\u00a3n>\n\nEvery man dreams of some far-away Utopia, bliss be it may never know. Yet the dream is his contentment, his heaven on earth, his priceless Eden. Perhaps you dream of an eternity spent on a cloud-swept hillside. Examples of this are a trickling stream or a gazy river. Perhaps the early morning swish of wings is sweet music to your ears. Deep in the West lies Hellroarin', wilder than a bronc, more beautiful\nIn this primitive heaven, my dream lies with horse hoofs. Scenes and shots of our pack train reflected in the water itself from L. Sprtmgman's \"Hellroarin' Heaven\" (See Page 71). It was a nice idea, but 200 feet of color film covering fishing and packing is just a teaser for any sportsman audience. So the western footage lay dormant.\n\nIn came scatter-gun season, with ducks breezing down out of the north to provide new action. One day, while hiding under some willow shoots on a private duck pass owned by Bill Everett, Minneapolis Cine Club president, and wondering why redheads and canvasbacks were so infernally immune to number four shot even at close range, an idea struck me. I was so excited, I missed the next dozen birds. I could hardly wait to lay hands on my cold storage reels.\nI did manage to shoot a duck sequence. It shows a hunter silhouetted before a red sky in early morning, and a ground view close-up of the hunter calling birds from the blind. As he rises to point his blunderbuss skyward as a flock goes over, a singleton falls. A dog plops out in the water and retrieves the bird (this scene was staged). Before me now lay a reel on trees and clouds, another on the river, a third on pack-tripping, and a fourth on ducks.\n\nSuppose we place the pack-tripping last and the ducks in third position. Since we like the Hellroarin\u2019 country, we shall call the piece \u201cHellroarin\u2019 Heaven.\u201d Building up to a climax by properly manipulating the other scenes with the needed titles.\n\nAfter the main title and credit line, I wanted an introduction or foreword, something to tie the pieces together.\nEvery man dreams of some far-away Utopia, his contentment, his heaven on earth, his priceless Eden. Perhaps you dream of an eternity spent on a cloud-swept hillside. Enter, cloud and tree footage. When this is completed, turn to the next title: Perhaps your love is a trickling stream or a lazy river. Cut in all river footage, then \u2014 Perhaps the early morning swish of wings is sweet music to your ears. Up to this point we have staged a build-up to prepare our audience for the supposedly finer footage which is to follow. So we introduce our next title \u2014 and all titles are double-exposed against a harp background.\nPrivately, in the West, lies Hellroarin' - wilder than a bronc, more beautiful than Paradise, whose trails know only the tread of packhorse hooves. Following the fade, our first shot is a long view of the mountain pass over which we shall ride, then a slow panorama down to the moving pack train. This is interspersed with close-ups of movement and pauses along the trail.\n\nInstead of taking just a head-on close-up of a trail sign to show mileage and direction, I tried an angle shot with my fellow-rider completely obliterating the sign with his silhouette as he passes before the camera.\n\nAfter a down-the-trail shot of the fish-swamped lake, I swung to a close-up of a fly box being opened and a lure removed. Next, a framed scene of the lake itself, panoraming slowly down to a medium shot of a log raft which my partner is pushing out from shore.\nThen follows fish action aplenty, and finally several specimens are cleaned for the evening meal. This leads naturally into the close-up of the browning steaks in the fry pan, but no scenes of devouring the meal are shown. Next, the horses are saddled and the journey continues deeper into the woods. These scenes are staged. In this primitive Hellroarin' heaven, here lies my dream. The closing scenes show our pack train fording a stream. As the horses continue along the water's edge, pausing only to fetch a sip, the camera records the upside-down movement in the calm reflection, and then fades out. With the modern trend in moviemaking, these color films needed music \u2014 sad, slow-tempo stuff in keeping with the theme. Organ music is always a good choice.\nThe Paradise Island Trio, recording for Decca, produced the required discs for color movies. With the screening of trees scenics, \"Paradise\" is played. \"Drowsy Waters\" fits the mood of the river footage, while \"My Isle of Golden Dreams\" and \"Springtime in the Rockies\" provide the sweet-sounding finale. If I wish to add sound effects, I find that the Speedy-Q and Gennett Record people of Los Angeles sell ten-inch discs of natural wind sounds, babbling brooks, quacking ducks, crackling flames, frying bacon, and horses hooves over gravel. With everything in perfect synchronization, it's possible to produce a more impressive screening than the original scene photographed. Perhaps you have odd footage lying around.\nThe studio, as well as the theater, profits from the revolutionary improvement in motion picture projection over the past two decades. The studio can further profit by adopting the new carbon arc lamps developed especially for motion picture production.\n\nThe Studio Profits\nThe studio profits from the revolutionary improvement in motion picture projection over the past two decades. It can further profit by adopting the new carbon arc lamps developed especially for motion picture production. (National Carbon Company, Inc. trademarks)\n\nFebruary, 1939 \u2022 American Cinematographer 75\nPhotophone\nSoundheads\nProvide Studio\nSix new Photophone sound reproducing systems, which incorporate more than a score of new technical advances, have been announced by Harry L. Sommerer, RCA Photophone head. Tone quality that imparts \"studio presence\" to the reproduction, greater convenience of operation, and streamlined functional design are some of the improvements ascribed to the new equipment, which is the culmination of over a decade of research and development in the RCA laboratories.\n\nThe new equipment has been designed to fit the sound requirements of every size and type of theatre, ranging from super-theatres exemplified by the Radio City Music Hall down to the smallest neighborhood house.\n\nTo Photophone\u2019s famed Rotary Stabilizer has been added a shockproof drive mechanism; together they ensure perfectly constant film speed past the reproducing photoelectric cell to eliminate speed variations.\nAny possibility of distortion from this source is eliminated. A double exciter lamp unit provides an emergency spare lamp for instantaneous changeover in case of failure. The optical focusers on the new equipment are securely locked into place after adjustment. Gear failures are virtually eliminated by an integral gear box assembly built into the new sound-heads, which keeps gears running in an oil bath.\n\nStrides in Design\n\nAll housings for the soundhead, amplifier racks, and volume control box have been completely restyled by John Vassos and Lynn Brodton, famous industrial designers, who have achieved a new functional streamlining. This not only improves the appearance of the equipment tremendously but also ensures the utmost utility of every component.\n\n\"The design of sound equipment has made tremendous strides since the early talkie days, when recorders cost tens of thousands of dollars.\"\nMr. Sommerer said, \"of thousands of dollars.\" Vastly more efficient reproducing equipment is now available at a fraction of former costs. In the interim, the theatre exhibitor has learned to evaluate the importance of good, realistic sound in getting the most entertainment value out of a picture. He has also come to appreciate the economy of sound equipment that gives uninterrupted day-to-day service.\n\nThe quality built into the new Photophone sound equipment is of two kinds: The kind that is immediately apparent to the ear and eye through outstanding performance and appearance; and the kind that is built into the apparatus to give dependable, trouble-free service over its full life.\n\nFilm Speed Constancy:\nFor theatres up to 800 seats, Model 138 is $1,375; for theatres up to 3,800 seats, Model 142 is $1,375.\nMr. Sommerer: \"The shock-proof drive for the constant-speed sprocket shaft is the most significant improvement to come out of the Photophone laboratory since the stabilizer unit itself. It makes it impossible for gear-backlash to be transmitted to the constant-speed film sprocket, ensuring absolute constancy of film speed. The shock-proof drive mechanism is mounted in the new type of integral gear box in such a way that it can be removed easily for servicing or replacement. The sound bracket assembly, including the optical system and the drum shaft, can also be removed in one piece. An approval-winning improvement for every projectionist and theatre owner is the double exciter lamp. If one light fails, it is only necessary to turn the socket around.\"\nSpare bulb goes into operation immediately, while the burned-out one can be renewed as the show continues. Mr. Sommerer pointed to the new self-locking focal adjustment mechanism as a long step toward improved operation. A light shield in front of the optical system avoids \"96-cycle\" hum resulting from modulation of the sprocket holes in the film. A new type of pre-focused exciter lamp bulb has been utilized, doing away with the necessity for adjusting the lamp laterally.\n\nSmartly styled housing\nThe new soundhead has a smartly styled housing over the electric driving motor, giving the equipment a clean-cut appearance never before achieved. This cover, like all the others on each piece of equipment, is easily removed for inspection or servicing.\n\nOn the right side of the soundhead is a glass window which permits a view of the interior. It is illuminated.\n1. The famous RCA Rotary Stabilizer, an integral part of every RCA Pliotophone soundhead, has been made even more efficient in the six new Photophone sound reproducing systems. This is achieved through the use of a new shock-proof driving mechanism, which isolates the stabilizer itself from all vibration or gear back-lash. Film flows smoothly and steadily past the light source, ensuring faithful reproduction.\n2. Two new developments in RCA Photophone's soundhead are depicted here. In the front is the double exciter lamp socket, which makes a spare lamp immediately available and ready for use by simply reversing the socket. Also shown is the mechanism for focusing and locking the optical system (right). The lens can be focused quickly and accurately by the operator, and then locked securely in place.\n3. The new \"streamlined\" RCA Photophone\nThe new soundhead for motion picture projectors, designed by John Tassos and Lynn Brodton, incorporates numerous advances. It introduces \"studio presence\" to the reproduction and is more convenient to operate. Improvements include a shockproof drive for the RCA Rotary Stabilizer and a double-switch exciter lamp device.\n\nThe new amplifier rack for RCA's Photophone, designed by John Vassos and Lynn Brodton, offers improved appearance and convenience. The cabinet is trim and compact, allowing easy access to all amplifier parts for checks or repairs.\n\nThis mechanism provides the new shock-proof drive for the RCA Rotary Stabilizer in the new Photophone soundhead. Isolation of the constant-speed sprocket shaft and drive gear.\nFrom the gear train and driving apparatus prevents gear back-lash from being transmitted to the constant speed sprocket. Absolute constancy of film speed is assured.\n\nThe new integral gear box assembly keeps gears in the new RCA Photophone soundhead running in an oil bath and makes gear failures virtually impossible. An oil indicator tells the operator when additional lubricant is required.\n\n\"A Couple of 'Musts' for Your Movie Equipment\"\nIn any roll of your movie films, you'll find many a \"frame\" that is a good picture in itself. It may be a scenic, or it may be a close-up of some such important person as The Baby\u2014or the baby's doting family.\n\nWith the Kodak 16 mm. Enlarger, it is a swift and simple matter to enlarge these frames.\nMake an enlarged negative, about 3 inches, of any desired 16 mm movie frame. Eight such enlarged negatives can be made on a single roll of 616 Kodak Film. From those films, prints and enlargements can be had as you please. The Enlarger works, by the way, equally well for black-and-white results with either Kodachrome or regular film.\n\nAnother important Cine-Kodak accessory is the Kodascope Movie Viewer, an ingenious little editing device that shows you your films in action. Added to your film editing equipment, it gives you instant check not only on photographic quality, but on the flow of action in your films. The enlarged film image is shown on a hooded ground glass, 1 inch x 1.5 inches in size. Incorporated in the Movie Viewer is a spring-punch for edge-notching the film, as a means of identifying future placement of titles, etc. The price of the Kodascope $_______.\nThe Movie Viewer is $20 for the 8 mm. or 16 mm. model. The Kodak 16 mm. Enlarger is used. The movie frame to be enlarged is clamped in place between a diffuser and the special 13 mm. lens in the Enlarger. The exposure is then made with the Enlarger held close to a No. 1 Photoflood. From the resulting negative, prints and enlargements can be made as desired.\n\nThe Kodascope Movie Viewer is shown below, used in conjunction with the Kodascope Master Rewind. With the Viewer are three other items of interest: the Kodascope Editing Bracket ($1.35), the Universal Splicer ($12.50), and the Master Rewind itself is priced at $30. At the left is the viewing hood of the Viewer in which the film image is seen brilliantly and in action.\n\nEastman Kodak Company, Rochester, N.Y.\nAmerican Cinematographer \u2022 February, 1939\nScene 1 (Medium): Davis' living room. A large day-by-day calendar denotes it's Saturday. Tom is seated at a small writing desk or table, struggling with his homework. Scowling, he can't seem to concentrate. He opens, leafs over a few pages, and closes book after book. He opens his note book, starts to write in it. He pauses, reflectively, obviously upset, closes note book, and pushes all of his books away from him, disconsolately. He sits there, dejectedly, until he hears something out-doors. He arises and walks to the window.\n\nScene 2 (Medium): Tom crossing room to window and peering out.\n\nScene 3 (Long): Across the lawn of the house next door, an auto has driven up to the curb. From the auto alights Mr. Bailey, their next door neighbor. He assists Betty Bennett, a charming girl, out of the car and reaches in for her.\nScene 4 (Close-up). Betty in a form revealing traveling suit. She fusses with her hair. Mr. Bailey in the background pulls out bags.\n\nScene 5 (Long). Across the lawn next door, revealing the Bailey house front door on one side and a car at the curb on the other. Pick up Mrs. Bailey leaving the front door, clad in a house dress. Pan the camera as she approaches her husband and niece coming up the walk. They all meet and stop midway.\n\nScene 6 (Medium). Mrs. Bailey kissing first her niece, then her husband. She's extremely glad to see them both.\n\nScene 7 (Medium). Davis' living room. Tom standing at the window, peering out.\n\nScene 8 (Close-up). Tom, wide-eyed with wonderment, has fallen in love at first sight with Betty.\n\nScene 9 (Medium). Tom, wide-eyed, suddenly gets an idea, and breaks into action. He makes\nScene 10 (Medium). Davis' kitchen. Mrs. Davis at the table preparing something. Tom dashes through the kitchen and out the back door without a word to his mother. Wondering what he's up to, his mother momentarily drops her work, goes to the kitchen window, looks out. Her gaze follows him as he dashes around the house carrying the lawn rake. She leaves the window, exits through the kitchen door into the living room.\n\nScene 11 (Medium). Davis' living room. Mrs. Davis crossing the room to the same window through which Tom was looking a few moments ago. She looks out the window.\n\nScene 12 (Medium-long). Davis' front lawn. Tom is walking around the corner.\n\nCast:\nTom Davis. Aged 16 years\nMrs. Davis. His Mother\nBetty Bennett. A well-developed young woman, also 16\nMrs. Bailey. Her aunt, Davis' next-door friend\nMr. Bailey. Her husband, well-to-do\nProperties: an automobile, a lawn-rake, two market baskets, empty milk bottles, a few groceries, some school books, some baggage. A man carrying the rake from the house. He walks slowly, in contrast to his previous mad dash to get the rake and go out in front.\n\nScene 13 (Medium): Tom rakes the front lawn and casts moonlike side glances at the Baileys and Betty, who are still standing and talking midway between their car and front door.\n\nScene 14 (Long): Tom raking lawn. The Baileys begin towards their front door in the background. None of the group has noticed Tom, so engrossed are they in their conversations.\n\nScene 15 (Medium): Davis\u2019 living room. Mrs. Davis at the window watches Tom making a weak pretense at raking the lawn. Her wonderment turns to amazement; and the amazement, when she sees the pretty girl with the Baileys, turns to confusion.\nScene 16 (Medium): She turns, still amused, and goes back to her work in the kitchen.\n\nTom still raking lawn. The Baileys, in the background, exit through their front door with Betty and her baggage. None of them has even seen Tom.\n\nScene 17 (Close-up): Tom pouts. Abject disappointment is written on his face; he ceases his raking and starts down the side of his house, the side away from the Bailey house.\n\nScene 18 (Dolly-shot): Follow Tom down the side of his house. Dejectedly, he throws the rake alongside of the house, rounds the rear corner, approaches and seats himself on the back steps. He places chin in hands, elbows on knees, forlornly.\n\nScene 19 (Medium): Tom sitting on back steps in above posture.\n\n(Fade-out)\n\nScene 20 (Fade-in): Davis\u2019 kitchen. Mrs. Davis putting finishing touches on whatever she is preparing. She sets down\nScene 21 (Long): A woman looks out from inside, going to the kitchen window. Tom is still sitting disconsolately.\n\nScene 22 (Medium): Mrs. Davis looks out the window with an amused smile.\n\nScene 23 (Medium): Exterior of Bailey back door, facing the Davis house. Tom is still sitting on his own back steps, disconsolate, in the background.\n\nScene 24 (Medium): From Bailey back door enters Betty, carrying a market basket. She exits around the corner of her house. In the background, Tom comes to life.\n\nScene 25 (Medium): Tom, coming to life, dashes through the back door into his kitchen.\n\nScene 26 (Medium): Davis' kitchen. Mrs. Davis is puttering about. Tom rushes in through the back door. As Tom rushes in, Mrs. Davis observes through the kitchen side window the new girl next door going up the walk.\nTom carries a market basket between the houses. He asks his mother if she wants anything from the store, placing several empty milk bottles from under the sink into the basket. Tom makes his way through the back door, carrying the market basket loaded with the empty milk bottles.\n\nScene 27 (Long): The street where the Davises and Baileys live. Betty walks along the sidewalk with her basket, around 60 or 70 feet ahead of Tom, who hurries to catch up.\n\nScene 28 (Medium): Both walking rapidly away from the camera, Tom a few feet behind Betty. He walks faster than she does.\n\nScene 29 (Medium): Tom passes Betty as she strolls along the walk.\n\nScene 30 (Close-up): Tom's face as he turns it toward Betty while passing her.\nScene 31 (Close-up): His expression is one of eagerness combined with inquiry and breath-absorbing wonderment. He speaks to her.\n\nScene 31 (Close-up): Betty's beautiful but calm, youthful face. She ignores his glance and words, with her nose and chin high in the air. When he speaks, she elevates her nose and chin just a little higher.\n\nScene 32 (Medium): Back to Tom in the act of passing Betty as they walk. Tom's expression turns to one of chagrin and mortification. Plainly embarrassed, he hurries past and walks on to the store faster than ever.\n\nScene 33 (Close-up): Betty smiles to herself amusedly as Tom hurries away. (Fade-out.)\n\nScene 34 (Fade-in) (Long): Betty, in February, 1939, coming back along the same sidewalk. She has a few groceries in her basket. A few feet behind her, Tom is strolling along. His basket is also with him.\nTom strolls with an empty basket. He exchanges milk bottles for deposits.\n\nScene 35 (Medium): Tom strides forward, determined. He'll show her.\n\nScene 36 (Medium): Tom passes Betty again.\n\nScene 37 (Close-up: Tom and Betty): Tom offers to carry Betty's market basket.\n\nScene 38 (Medium): Betty stops, indignant. She steps back, glaring at Tom. Speechless with rage, she stamps her foot and detours around Tom, leaving a wide berth as she continues on.\nScene 39 (Long). Betty tripping daintily out of the picture away from the camera.\n\nScene 40 (Medium). Tom sulking along dejectedly; his world has come to an end. (Fade-out).\n\nScene 41 (Fade-in) (Long). Davis and Bailey homes. On the sidewalk between the two homes, Tom\u2019s mother and Betty\u2019s aunt are conversing. Betty trips gayly into the picture with her basket of groceries. Tom is sulking several yards in the rear.\n\nScene 42 (Medium). Betty affectionately meeting her aunt, and being introduced to Mrs. Davis. She curtsies sweetly. Mrs. Davis calls and beckons to Tom, who is loitering and sulking out on the sidewalk.\n\nScene 43 (Medium). Tom enters the picture considerably abashed. He has misgivings about all women \u2014 even his own mother \u2014 at this moment. His mother appears.\nTom politely acknowledges to Mrs. Bailey that he knows her, then she introduces him to her niece, Betty. In Scene 44 (close-up), Betty turns all sweetness, beauty, and light, pleasingly meeting Tom and acting as if she really means it. In Scene 45 (close-up), Tom brightens up. He is reborn again, realizing that Mrs. Bailey isn't the old snob he thought she was. They just needed to be introduced. A mere formality. Tom and Betty are radiant in conversation in Scene 46 (medium). Tom is still a bit bashful, finding it hard to believe his eyes and ears. He hasn't quite gotten over her ferocious act from just a few moments ago. Their baskets are taken from them by their respective aunts and told to run along and amuse each other.\nThe two youngsters walk and talk animatedly.\n\nScene 47 (Long). Tom and Betty, hand in hand, walk away from the camera and into a beautiful sunset.\n\nScene 48 (Close-up). The two stop.\n\nAfter two years of planning and building, simplifying and ironing out \"bugs,\" the Fonda Machinery Company, at 8928 Santa Monica Boulevard, Hollywood, has completed work on its development machine and is ready to go. Pictures of it will be seen on the opposite page. John F. Van Leuvan, sole owner of the company, made the announcement shortly after New Year. He declared that William V. Brennan, associated with him in the ownership of the patents and who had done the major part of the mechanical work involved in the construction of the machine, was in agreement that at last their experimental work was successful.\nThe machines have been completed, enabling them to be released for sale without the requirement of machine shop maintenance. Simplicity of construction has been one of the primary objectives of the two men who designed the Fonda. Among other achievements, they have successfully eliminated as many parts as possible.\n\nKodak Panatomic-X Film\nAvailable in Other Forms\n\nKodak Panatomic-X Film, which has gained renown as a medium for miniature camera work since its introduction a few months ago, is now available in a wide range of roll film and film pack sizes, the Eastman Kodak Company announces from Rochester.\n\nKodak Panatomic-X has significantly finer grain than that which earned high regard for the current Kodak Panatomic Film. This improvement in grain is achieved without sacrificing speed, as compared to Panatomic. Thus, Panatomic-X roll films and packs are established.\nPublished as all-around, high-quality fine-grain panchromatic films of ample speed for nearly all conditions other than those requiring the extreme speed of Kodak Super-XX. This truly fine-grain film is of special interest to owners of cameras making vest pocket or half-620 negatives, and other smaller roll film and film pack cameras producing negatives from which enlargements are desired.\n\nKodak Panatomic-X is recommended.\n\nTom's right arm slides around Betty's waist. He looks at her. She turns her face to his. Her left arm slips around his waist. Both turn faces toward the sunset.\n\n(Fade-out).\n\nPossible of the laboratory problems. Film enters the machine at a constant steady speed which is maintained in an even flow throughout the developing and drying process. Film is carried on 7 1/4-inch bakelite rollers which are all free on live shafting or tubing.\nLarge roller diameter accomplishes the same results as expensive bearings without their initial or maintenance costs. All sprockets and elevators have been eliminated. These machines make for very simple, constant, and safe operation, particularly adapted to handling narrow film. The soft, even tension is maintained without relaxation, eliminating all turn-over tendencies present in miniature film, especially 8 mm. The company is dedicating its entire time to the manufacture of developing machinery and has the ability to supply any laboratory need for this kind of equipment. Not only for high quality results with ordinary subjects, but also for copying photographs, halftone reproductions, and documents, for technical photography, and for salon and exhibition work. Metropolitan Cine Club of St. Paul\nPaul, Minn. held its monthly business meeting on January 3 at the Angus Hotel, with increased attendance. With the St. Paul Winter Sports Carnival not far distant, starting January 28, plans were discussed and completed for filming this colorful occasion.\n\nThe opening event is the \u201cBig Parade\u201d made up of brilliantly colored uniformed marching units, drum corps, bands, and floats, which normally takes about four hours to pass a given point. On January 17, the programme consisted of lighting studies in which a model was used in making the picture.\n\nTentative plans for a full and interesting season of motion picture study have been completed.\n\nHarold E. Piggott, Secretary.\nFonda Machine Company\nCompletes Developer\n\n80 American Cinematographer \u2022 February, 1939\n\nPicture of Fonda\nDeveloping Machine\nphotographed from the wet end.\nRunning board indicates floor level.\nFonda Developing\nMachine photographed from the dry end. February, 1939 \u2022 American Cinematographer 81\n\nIntroducing New Method of Interior Photography\nBy John Castle\n\nBert Glennon, a man whose progressiveness and sincerity have kept photographic competition moving, was highly recommended to me as someone whose perspective I could obtain without the usual glamour and elevated adjectives of publicity departments. I went to United Artists Studios and specifically to Walter Wanger's production that Glennon was photographing to meet this individual.\n\nUpon introduction, Glennon suggested that observation was an important asset to a writer. I enjoyed watching John Ford, the director of \"Stagecoach,\" while he worked.\nmove his people around in smooth lineation of the characters they were portraying. There was that amiable goof, Andy Devine, as the stagecoach driver; serious George Bancroft as the marshal; the delapidated Thomas Mitchel as the drunken doctor, and convincing Claire Trevor as the \u2013 well, the \u201clady,\u201d if you know what I mean. This group is only a part of the cast and were the only characters working during my observation.\n\nTime is the most expensive item concerned in the production of a motion picture. In some cases:\n\nReally, present-day motion picture production is amazing \u2013 that is, the effective effort used in scene photography is amazing, if all directors work like Ford and Glennon. The smoothness of handling people and the precision of mechanical methods is a demonstration of time-saving procedure.\nI am told it will run about $150 a minute during the working day. Please let me describe the modus operandi of one complete scene. At the close of a scene, the stillness was broken by the buzzing of voices, each person concerned attending to his particular responsibility.\n\nThe lights and cameras were moved to the edge of the set, and everything became quiet again - moderately so. Ford and Glennon stood in the center of the set, which was a low ceilinged adobe room that I suppose was a part of a desert overnight stop for the stagecoach.\n\nI could not hear their conversation, but both were gesticulating. (I noticed nearly all persons around a motion picture set do a lot of talking with their hands.) Mr. Ford then walked off the set with an \"Okeh,\" and Glennon remained there for a few seconds. He appeared to be planning. He looked at the ceiling, then at a prop or blueprint spread out on a table.\nHe called for a \"Finder, please, 25 millimeter.\" One of the men at the camera quickly obeyed. \"Right here,\" said Glennon, and a grip marked the position of Glennon's feet with a chalk mark X. The crew moved the camera to that exact spot and leveled it accurately. Glennon then went into a discussion with his chief electrician, who proceeded to follow his instructions. Lights started to move into position. I heard Glennon ask for a redress of the angle of the property department and call for the actors' stand-ins. The sound crew started to move into their position and I noticed Glennon and the man in charge of sound discussing the scene. Everything seemed to move swiftly.\nConscious of any confusion. Anyone who wished to know something about the scene asked Glennon. He seemed to be the source of information, and I wondered about such a procedure and decided to get his answer on that question.\n\nCinematographer Bert Glennon and Director John Ford study lighting and set before making a scene for Walter Wanger\u2019s \u201cStagecoach.\u201d Ford, renowned for his ability to build romance into two-fisted characters, was thoroughly pleased with his \u201cStagecoach\u201d assignment. Apparently, Glennon held the same opinion.\n\nAmerican Cinematographer \u2022 February, 1939\n\nI managed to have a moment with him afterwards.\n\nAfter a very short time, Glennon called the assistant director and told him that the set was ready. Mr. Ford then checked the \"set-up,\" people's positions, and general camera movement. He then ran a mechanical rehearsal.\nwith the cast disclosing any difficulty that might develop from the scene mechanics, Ford then \"got down to brass tacks\" with his people. Scene Was History\n\nWhen satisfied, he called for \"Cameras!\" and the scene was history. (Glennon told me afterward: \"Ford knows what he wants and when he has it, so I had better be right the first time because he will not take a scene more than once if he gets it the first time.\")\n\nA yell from Ford that the scene was okay started the same buzzing and bustling as the crew began clearing the set for the next setup. This same procedure was adhered to until the company \"broke\" for lunch.\n\nMy mind was filled with questions, and Glennon, I hoped, would supply the answers.\n\nOn our way to lunch, I started with, \"Now, you told me what observation meant to a writer. Well, here are a few:\"\nA: I don't think it's an accepted practice, but in Mr. Ford's case, he desires to explain and discuss the mechanics of his requirements with one man and relies upon that man to follow through. He has a crew of experts in their line, and their cooperation is 100 percent. The present arrangement seems to work out for Mr. Ford and saves valuable minutes of time. After all, the camera is putting the result upon the screen. So I guess the added responsibility doesn't hurt.\n\nQ: In your crew, whom do you consider the most important?\nA: All concerned are important, but I suppose the assistant cameraman is the most vital. To explain, our lenses have a very narrow plane of focus.\ncritical focus which must be held on the chief point of interest throughout the scene. In this particular picture, where most of the scenes are taken, that gentleman must be on his toes and not miss, and this one doesn'Q. \u2014 Other sets I have visited have many lights placed all around the top. I notice no parallel construction for lights on any of your sets and all of them have ceilings. Is that something new?\nA. \u2014 Yes, it is a decided break from the conventional method of lighting sets and people. The ceilings were necessary because the sets were low, and as a certain reality of perspective is obtained by the use of the 25mm lens, which included ceiling in nearly every shot, the elimination of the conventional backlight or \u201cHollywood halo\u201d was forced.\n\nBelieve me, it is quite difficult to obtain \"roundness\" of image without parallel construction for lights and the use of ceilings.\nThe use of backlight, but to follow out the photographic idea, which was \"reproduce the method of lighting as used in the Sargent paintings of the early West,\" it was necessary to use backlight only when it was the source of light.\n\nQ. \u2014 Do you always have a photographic idea to follow when lighting a motion picture story?\n\nThe Photographic Idea\n\nA. \u2014 That depends. If the production warrants, a photographic idea is adhered to religiously. On the other hand, if the producer is forced to hold the production to a tight schedule, the only way one can make time is what I call a formula in lighting which lends itself to tremendous speed. Fortunate, I have been assigned to important pictures in the last three years.\n\nQ.\u2014 What was your last picture and what was the photographic idea?\n\nA. \u2014 John Ford\u2019s \u201cHurricane\u201d for Sam Goldwyn.\nGoldwyn: \"Hurricane\" was a deliberate attempt to feature Sound, Music and Photography - a cooperative determination to coordinate these three elements to produce a definite emotional effect upon the audience. It was a success. The sound won the Academy award and the picture is rated one of the ten best this year by the national press.\n\nQ: And the picture before that?\nA: Lloyds of London for Twentieth Century-Fox. This period picture with its costumes and old painting settings was photographed to create the idea of mellowness and texture throughout the production. It won me an associate-ship in the Royal Photographic Society of Great Britain.\n\nQ: Let's take one more.\nA: \"The Prisoner of Shark Island,\" for Twentieth Century-Fox, in which the effect of \"steel etching\" quality was strove for in all scenes, especially the close-up work. This effect was obtained by...\nQ: What is the future for motion picture photography as a whole?\nA: The technical side is making tremendous strides in all branches. Continual application is necessary to keep up with that progress.\n\nQ: And the artistic side?\nA: Photographic achievement rests entirely with the courageous creative ability of our camera personnel.\n\nWe passed through a very large sound stage where a western street was constructed. There must have been about twelve buildings and it was spread out over the entire stage from wall to wall. An art director approached and something was said about wetting the street down, and there was a brief discussion about one of the backings at the end of the street. We resumed our interrogation.\n\nQ: When do you come into this set?\nA: Late this afternoon.\nQ: But I don't see any lights up high. In fact, I don't see any at all. What does that mean?\nA: (smiling) You are observing, aren't you? Well, all of the scenes are at night, so we decided to have our action lit from the true source: light coming from doors and windows and occasionally a street lamp.\nQ: I imagine production expense has been lowered by your method of lighting?\nFoot-Candle Meter\nA: On this picture, it has. Whether or not this type of lighting will lead to a progressive step remains to be seen.\nQ: What is that instrument you hold before the lights while preparing or lighting a scene?\nA: Oh, that? Why, it's a foot-candle meter which measures the intensity of the light falling upon an object. By adjusting the light to a predetermined reading on the meter, the lighting is kept rigidly constant throughout the picture.\nThe advantage primarily concerns the consistent developing and printing range of the negative. So far, the negative of this production has developed between 10.5 and 11.5 minutes, and the printing range is within three lights on the print scale.\n\nQ. \u2014 How long have you been using this method of procedure?\nA. \u2014 For the past two years. The Technicolor Corporation designed and calibrated the meter for me, and it is now my constant companion.\n\nQ. \u2014 Do you think other studios will adopt this procedure?\nA. \u2014 Yes, I think so. I recently read an article where Twentieth Century-Fox has made a meter of similar design a part of each cameraman\u2019s equipment.\n\nQ. \u2014 How have you been studying light and its reaction to photography?\nA. \u2014 All my life.\n\nQ. \u2014 And what do you know about it?\nA. \u2014 Nothing.\n\nQ. \u2014 But you do know how to use it?\nA. \u2014 Yes.\nFebruary, 1939 \u2022 American Cinematographer 83\n\nCandidates Named for Academy Camera Honor\n\nThe productions nominated for the Academy photographic award were announced just prior to the closing of the Cinematographer\u2019s forms. Under the rules, the photographic staff of each studio named one production from that organization for consideration of the group qualified to make the selection. The pictures and the unofficial credits attached to each are as follows:\n\nAlgiers, James Wong Howe, Wagner\u2019s\nArmy Girl, Harry Wild and Ernest Miller, Republic.\nThe Buccaneer (Victor Milner, Paramount)\nThe Great Waltz (Joe Ruttenberg, M-G-M)\nJezebel (Ernest Haller, Warner Brothers)\nMad About Music (Joseph Valentine, Universal)\nMerrily We Live (Norbert Brodine, Hal Roach)\nSuez (Peverell Marley, Twentieth Century-Fox)\nVivacious Lady (Robert De Grasse, RKO-Radio)\nYou Can\u2019t Take It with You (Joseph Walker, Columbia)\nYoung in Heart (Leon Shamroy, Selznick-International)\n\nSpecial rules for the Cinematography award of the eleventh annual Academy Awards of Merit:\n\nCinematography: For the best achievement in cinematography of a black and white picture, 80% of the release footage of which must have been photographed in America under normal production conditions.\n\nOne picture from each studio shall be nominated for this award. Each studio's nomination shall be chosen by:\nThe photographic staff of each studio, under the direction of the head of the camera department, are responsible for (1) selecting one production from their studio's nominated productions for consideration for the cinematographic award. (2) A committee known as the Cinematographic Award Committee, consisting of one representative from the photographic staff of each nominating studio, will choose the production receiving the award from the nominated productions mentioned in paragraph (1). (3) Each studio's representative on the Cinematographic Award Committee is selected by the photographic staff of that studio, with the exception that any member of the photographic staff of a nominated production is ineligible to serve on this committee. (4) To ensure equal judging, each committee member evaluates the photography of all nominated productions.\nThe Cinematographic Award Committee shall view all nominated productions at special showings arranged during the Awards period. Each committee member must view all nominated productions under the same conditions in the same viewing room to participate in the vote for the award. The voting system is the \"preferential\" system, governed by regular rules.\n\nFor Art Direction:\n\nNominated productions for the Academy award: Adventures of Robin Hood, Adventures of Tom Sawyer, Alexander's Ragtime Band, Algiers, Carefree, Goldwyn Follies, Holiday, If I Were King, Mad About Music, Marie Antoinette.\nMerrily We Live. The Academy names committees to revise technical rules. Nathan Levinson, Chairman of the Technicians Branch of the Academy, has mailed word to his many movie making friends around the world about asking them to contribute films for consideration by the jury which will select the program for his Tenth Annual Movie Party. Mr. Little has requested that films arrive in New York not later than March 10, so that there may be ample time for the jury to select the films to be screened, and then, with the selections made, to arrange appropriate musical accompaniments for all films. The party will be held on Friday evening, April 14, at the Barbizon Plaza Theatre, as our readers know, these affairs had grown to such size by 1937 that it was necessary to \"hire a hall\" so great was the demand for tickets.\nThe friends of Mr. and Mrs. Little. The Salle des Artistes in New York City was packed in 1937 and 1938, audiences numbering in excess of 300 in both years. Yet, the demand was greater than could be accommodated. This year for the Tenth Party, the following committees considered the rules used to govern the various technical awards last year, for the purpose of determining whether or not changes should be made for use this year:\n\nCinematographic Award: Joseph Valente, chairman; John Arnold, Joseph August, Norbert Brodine, Edward Cronjager, Robert DeGrasse, Arthur Edwards, William Eglinton, George Folsey Jr., Fred Gage, Merritt B. Gerstad, C. Roy Hunter, Thomas Ingman, Ray June, Sidney Lund, E.B. McGreal, George B. Meehan Jr., Virgil Miller, Victor Milner, Ira Morgan, L. William O\u2019Connell, Emil Oster, George Robin.\nRoy Seawright, George Seid, Karl Struss, Allen Thompson, Joseph Walker, Vernon Walker, Lester White, Ray Wilkinson, John Aalberg, Bernard tBrown, E.H. Hansen, Nathan Levinson, John Livadary, C.L. Lootens, Thomas Moulton, Elmer Raguse, Loren Ryder, Douglas Shearer, Nathan Levinson (Chairman), John Arnold, Farciot Edouart, Fred Gage, Wesley C. Miller, Van Nest Polglase, Ray Wilkinson, Bernard Herzbrun (chairman of the art directors\u2019 section), Peter Mole (chairman of the equipment section), Harold J. McCord (film editors section), Ray June (photographic section), and William Muelter (sound section), Gordon S. Mitchell (manager of the Academy Technical Bureau).\n\nSound Recording Award: John Aalberg, Bernard tBrown, E.H. Hansen, Nathan Levinson, John Livadary, C.L. Lootens, Thomas Moulton, Elmer Raguse, Loren Ryder, Douglas Shearer.\n\nTechnical Award: Executive Committee of the Academy Technicians Branch - Nathan Levinson (Chairman), John Arnold, Farciot Edouart, Fred Gage, Wesley C. Miller, Van Nest Polglase, Ray Wilkinson, Bernard Herzbrun (chairman of the art directors\u2019 section), Peter Mole (chairman of the equipment section), Harold J. McCord (film editors section), Ray June (photographic section), and William Muelter (sound section), Gordon S. Mitchell (manager of the Academy Technical Bureau).\n\nA larger auditorium has been selected, and,\nMr. and Mrs. Little have decided to place their tickets for the amateur movies on a subscription basis due to increasing expenses. They hope the interest of their friends and the movie-minded public will be sufficient to cover and possibly exceed their expenses. Any surplus of receipts above actual expenses will be given in full to the Peabody Home for Aged Women, the only free and non-sectarian institution of its kind in New York City, where Mrs. Little is a member of the Woman's Auxiliary. The organization and plan of the party will be similar to that of the past several years.\nThe list of \"invitations to contribute\" for the Littles' Tenth Party is set for April 14, 1939. The American Cinematographer \u00ae magazine reports that over two hundred numbers are issued, addressed to amateurs in twenty States of the Union, in four Canadian Provinces, and twelve foreign countries. Truly, the Littles\u2019 Movie Party has become international. These events have grown significantly, from a modest beginning in 1929 when there were only twelve guests and no contributors, with only Mr. Little\u2019s production films screened at that event. This year, due to the innovation of the subscription idea, Mr. Little will place no film of his own before the jury. His great interest and desire being simply to learn whether such a program, as has been screened during the recent years, can justify the great amount of work.\nClose attention to a vast number of details that such a party involves. Guide for the Future. The Littles have enjoyed placing these programs before their friends and they have enjoyed, too, the making of new colors which gave one impression visually and anotheractically. It is not unlikely that much of today\u2019s vogue for white and gray sets could be traced to an effort \u2014 subconscious, perhaps \u2014 to eliminate such misunderstandings. Painting Suggests Depth. Personally, I can think of no other valid excuse for some of the white sets I have seen lately! These troubles, we have already proved, are eliminated with the use of these standardized pastel set colorings. But there is a further practical advantage to the set-painting system we have developed. Granted, of course, proper cooperation between the set-designer and the cinematographer, the system allows for a more consistent and standardized look across different scenes and productions.\nThe use of colorings can significantly simplify the cameraman's task of suggesting depth in a two-dimensional picture. For instance, the principal set for \"Three Smart Girls Grow Up,\" the wealthy family's living room, was painted entirely in shades of pink and tan. Columns, corona, arches, baseboards, and other features were painted in a light shade of tan. The walls were in an intermediate shade of pink, while friezes above the columns and some decorative panels on the walls were in a darker shade of the same color. The panels were outlined in yet darker shades.\n\nFriends at home and abroad have expressed their beliefs that the plans for the Tenth Party will yield concrete evidence of what should be done in the future.\nIf these events continue, it's an excellent time for those interested, either as amateur film producers or as audience, to band together behind Mr. Little and form an organization to assist in the work and relieve one willing person of the burden and financial strain of carrying-on alone. Mr. and Mrs. Little have told this magazine of their hope that such an organization might be formed - an organization not to replace any of the present worthy groups doing so much to advance amateur film but rather an organization that can assemble from these many groups and the countless legions of lone workers the creditable films they produce and make them available for screening before the many, whether they are non-moviemakers or experts.\n\nThe result was a set which not only...\nThe columns, standing out naturally against their darker background, were easier to light than the other structures. Their light tan coloring did not give a glaring effect, unlike if they had been painted white or an equally light gray. The dark pink friezes, set off by the tan cornices and architraves above and below, also stood out in natural relief with far less modeling lighting than would otherwise be necessary.\n\nThe same ideas were carried out on the other sets, with varying color schemes. Some sets were entirely in blue-green, in blue-green and tan, and others which would ordinarily have been white or very light gray in the lighter shades of blue-gray.\n\nIn every case, both Otterson and I knew before a bit of paint had been applied to the set exactly what the final value would be.\nThe photographic value of any given area is determined by this system. From this, we could easily ascertain whether its shade was correct to match my lighting plan and provide visual relief to the picture. Another important, yet less obvious, aspect of this system is the psychological effect on the actors, and indeed on the entire company. Some colors, which may photograph excellently, are known to have a disturbing influence on people. Color stylists have told me, for instance, that they avoid certain shades of green in decorating airplane cabins due to their proven tendency to induce airsickness and nausea. We have all seen rooms whose coloring seemed imperceptibly to set our nerves on edge. The shades we have chosen have been selected because they are psychologically soothing. I've noticed that everyone in our troupe, whether they were acting or not, responds positively to these calming colors.\nSets' technicians appeared mentally at ease. This may seem a small point, but mental attitudes can make a picture good or bad. Day-or-Night Backings\n\nAnother innovation we have tried and found successful is in backings. Last year, we experimented considerably with large backings, painted in natural colors rather than the usual black-and-white. In this latest production, we have found them definitely better.\n\nUsing natural colors, they appear more convincing, not only to us working on the set but on the screen as well. The actual foreground and the painted backing seem to blend better with each other.\n\nLighting such backings is easier. Being in natural colors, they seem to have a higher reflective value \u2014 to require less light than conventional monochrome.\nBackings, photographic or painted, are especially important with new films due to their increased color sensitivity. This is particularly true for sequences that require both day and night effects. Normally, separate backings with \"illuminated\" windows painted in would be used for night scenes featuring city buildings.\n\nHowever, since we were using the new Plus-X, I wondered why we couldn't take advantage of its speed to illuminate those windows with light instead of paint? We tried it and it worked. All that was necessary was to block out the back of the backing in the areas we wanted dark and leave clear the spots we wanted \"illuminated.\" Initially, we used heavy kraft paper carefully cut for this purpose.\nThe windows are treated with paint around them. More recently, we found that opaque black paint applied to the rear of the backing works just as well and is quicker and easier to apply. The windows are easily lit up by placing a \"broad\" or two behind the backing, where its light will shine through the \"window.\" The front lighting is done in a lower key to suggest night, just as if we were creating a night effect on a normal set.\n\nMake-up and set painting aid new film\n(Continued from Page 56)\nFebruary, 1939 \u2022 American Cinematographer 85\nB & H Continuous Attachment\nProvided for 800 Foot Film\nPhoto by Bert Glennon\n\nThe new 800-foot continuous attachment\nThe Bell & Howell company announced a unique design for a film attachment, compatible with Filmo and Filmosound Projectors. This new attachment was developed to offer greater \"show\" capacity and incorporate features that enhance the life of the film.\n\nTo minimize friction between film layers, the attachment is mounted horizontally, allowing the film edge to bear its weight. The design causes film convolutions to spread apart, ensuring a loose run in the attachment.\n\nThe new 800-foot continuous attachment is suitable for 16mm films, whether sound or silent. Eight hundred feet of sound film, at 24 frames per second, provides a 22-minute showing; silent film, at 16 frames per second, offers a 33-minute showing before repeating.\nShowings of these extra lengths are very much desired by those exhibiting at fairs, conventions, etc.\n\nA traveling show of 75 outstanding photographs from the files of the Works Progress Administration is available without rental fee for exhibition by photographic societies and art museums throughout the United States.\n\nThe collection includes varied applications of the documentary technique in photography, as well as illustrative photographs, dramatic angle shots of industrial and construction subjects, architectural photographs, and genre and human interest pictures. There are many excellent modern examples of pure design, pattern and texture.\n\nAll photographs in the show were selected from the regular working files of negatives made as a photographic record of the Federal Works Program.\n\nThe exhibition may be obtained by contacting:\n\nDivision of Information, Works Progress Administration,\nWashington, D.C.\nEight motion picture films were produced in Australia in 1938. The main competition for American films in that country came from the British film industry, according to a Department of Commerce report. Six New Photophone soundheads have eight motion picture films at their edges, eliminating glare and permitting a clearer view of the interior. The photoelectric cell transformer in the soundhead has been entirely shielded in a cast iron chamber, ensuring virtual absence of noise from static in the soundhead, a new improvement for this equipment. A new system of mounting the picturehead in the soundhead has also been devised. A separate, removable mounting for the picturehead is used.\nThe able plate is provided atop the sound-head to which the picture head is fastened. It is then only necessary to remount the removable plate on the soundhead, securing it with four screws on the outside.\n\nThis contrasts with the older method of running long unhandy bolts from the picture head into the soundhead. The removable plate also serves as an oil collection plate, gathering oil drips from the picture head and feeding them into a tube which empties into a removable container.\n\nThe mounting plate is also designed to provide easy adjustment of the picture head in relation to the soundhead for the proper meshing of the picture head drive gears.\n\nThe removable plate allows for easier maintenance and oil collection compared to the older method of running bolts directly from the picture head into the soundhead. It also facilitates adjustments for proper meshing of the picture head drive gears.\nas a choosy boy. He doesn't go for the bright lights as did some of his respected ancestors. Oh dear no! What illumination he has must be smooth and discreet, without a trace of shadows or \"hot spots.\"\n\nThat's where young \"Baby\" Junior of Solarspots made a big hit with the newcomer. \"Baby\" Junior isn't very big, and never has been a bright-light type herself, but true to Solarspot family tradition, she's always beaming, with never a shadow or the faintest suggestion of a \"hot spot.\" No wonder everyone says, \"They seem made for each other!\"\n\nFast Film, Solarspot\n\"That Way\"\n\nPrincipal in Latest Hollywood Romance\n\nLatest portrait of \"Baby\" Junior Solarspot, reported by Hollywood columnists as seen everywhere with the sensational newcomer.\n\nFast Film. Baby Junior comes from one of the most distinguished families in Hollywood. Direct descendant of the Solar-\nspots,  Senior  and  Junior,  orig\u00ac \ninators  of  smooth,  shadowless \nspotlight-beams,  Baby  Junior \ntraces  her  ancestry  in  an  un\u00ac \nbroken  line  to  the  first  \u201cInkies\u201d \nto  greet  Panchromatic  Film, \ndirect  ancestor  of  Fast  Film,  on \narrival  in  Hollywood  over  a \ndecade  ago.  This  new  linking \nof  the  1939  generation  of  two \nfamous  families  is  singularly \nappropriate. \nPerhaps  Some  Day - \nYou\u2019ll  Light  Sets  With  Matches: \nUntil  Then \nSOLARSPOTS  ARE  BEST  FOR \nALL  FILMS \nMOLE-RICHARDSON  CO. \n941  North  Sycamore  Ave.  Hollywood,  Calif. \nBy  Walter  Windshield \nThe  latest  in  Hollywood \nromances  is  that  Fast \nFilm  and  the  Mole-Rich- \nardson  youngster,  \u201cBaby\u201d \nSolarspot,  are  twoing. \nFollowing  early  encoun\u00ac \nters  with  the  older,  heavy- \nweight  members  of  the \nlighting  family,  reported \nto  have  left  the  celluloid \nnewcomer  thoroughly \n\u201cburned  up,\u201d  F.  F.  and \nBaby  Jr.  have  been  going \ntogether  with  that  old \n\u201cyou  were  made  for  me\u201d \nThe traditional member of the Solarspot family, known as Baby Junior, is thriving in his new role. With years of relegation to obscure tasks, he has been promoted to key lighting positions, illuminating glamorous stars and even romantically paired with the sensation of the day, Kid Fast Film. According to the grapevine and my girl Thursday, Baby Junior and Fast Film have been seen holding hands by most of the Supreme and Plus-X sets. From where I sit, it looks like a steady combination, with the older members of the Solarspot family, Junior and Senior, happily chaperoning from the catwalk behind goboes and dim bulbs. (Continued from Page 58)\n\nGadgets for the Moviemaker\n\nAn inch in length, this gadget makes focusing a pleasure (Fig. 6).\nAs to rewinding: Many projectionists delay the show by rewinding each reel as it is shown, possibly due to the difficulty in identifying the subject matter if several reels of film are shown and all rewound upon conclusion of the program. I solved this easily by splicing a short length of film leader on the end of each film and printing the title of the picture on this strip in India ink. By running all your reels before rewinding, your show is speeded up, and your friends will appreciate that fact, whether they are aware of it or not. For a novel addition to an evening of movies, try the projection of some still frames. If your projector is of a type permitting the easy removal of the condenser lens, you can vary the show with the least of effort. Save your film clippings and splice them in.\nThree frames together and wind on a small reel. Thread your projector as usual. Disconnect the motor belt from the claw driving mechanism. Raise or open the heat screen. Switch on the cooling motor and lamp, then manually turn the claw knob to quickly position and project large, clear stills for any length of time without burning. With my projector, I could project a single frame for several minutes with no apparent film harm besides slight drying. However, for cutting purposes, there is no concern.\n\nMovie Club Notes\nNew York 8mm Club\n\nThe New York 8mm Club held its December meeting at the Hotel Pennsylvania with nineteen members and four guests.\nguests were present. The business meeting covered the club party, to be held in January. The question of a film library for the club was taken up. Two well-known films from the American Cinematographer's library, \u201cNew Horizons\u201d and \u201cTender Friendships,\u201d were shown and discussed. The exchange film, \u201cThe Beach Comber,\u201d by Anchor Jensen of the Seattle 8mm Club, was followed by a film submitted by a proposed member, Mr. Carruth, entitled \u201cAround Europe.\u201d An interesting underwater picture taken in Florida by Albert Shafenberg (without using a Polaroid filter) was also shown. The newest and a really unique film was brought by a guest, Larry Silverman, who is an animator with Terry Toon pictures. His film, \u201cMaking \u2018Em Move,\u201d in color, was most interesting and inspired many questions. Our titling expert, Mr. Bravde, next showed a collection of New York 8mm films.\nleaders with excellent and varied titles. The last film was an \"Old Timer,\" valuable chiefly as contrast and as a record of happenings 25 years ago.\n\nAt the regular meeting of the Cinema Club of San Francisco, held Tuesday evening, January 17, K. G. Stephens, fellow Club member, exhibited both Kodachrome movies and colored slides of New Orleans and the surrounding territory taken on a recent trip to this fascinating and colorful city.\n\nE. K. Hill, Sun Valley representative\nRe-Live\nTHAT OUTING\nTonight\nin Movies, Vividly Shown on a\nGlass-Beaded Screen!\n\nYour picture record of never to be forgotten days will be more brilliant, more realistic and more thrilling when you show it on a Da-Lite Glass-Beaded Screen. Details are sharper. Colors are true to life and retain all of the gradations of tone your camera captured.\nDa-Lite Glass-Beaded Screens are available in many styles: box type table models, hanging screens, and the Challenger with tripod attached, which can be set up anywhere in 15 seconds. Prices range from $2.50 up. Write for literature and name of nearest dealer.\n\nDA-LITE SCREEN CO., INC.\nManufacturers of Theatrical and Mon-Professional Screens With All Types of Surfaces and Mountings.\n\nDEPARTMENT 2-A, C.\n2723 North Crawford Avenue, Chicago, Illinois\n\nFebruary, 1939 \u2022 American Cinematographer\n\nThe Union Pacific Railroad presented 1600 feet of Kodachrome with sound of winter sports at Sun Valley, Idaho. The scenic effects in this picture are unusual, and it had the added interest of being one of the first Kodachrome duplicates produced by the Eastman Kodak Company.\n\nDenis Donohue, President.\nLos Angeles 8mm. Club\nWith a gathering of 300 members.\nThe \"Cinematographer Night\" meeting of the Los Angeles 8mm Club was held at the Vine Street School Auditorium, 955 North Vine Street, on January 10.\n\nPresident Leitch announced the following committee appointments:\n\nSocial: John K. Northrop, James B. Ridge, Henry Huddleston.\nTechnical: Robert W. Teorey, Milton R. Armstrong, Randolph B. Clardy, G. Loren Foote.\nContest: C. M. Drury, George T. Hewitt, E. L. Emenegger.\nShut-In: Claude W. A. Cadarette, C. William Wade Jr., Leon C. Sprague.\nThrough the Filter: Robert W. Teorey, editor.\nLadies\u2019 Activities: Doris Lee.\nClub artist: Randolph B. Clardy.\nStill photographer: James B. Ridge.\nClub projectionist: Dick Moore.\n\nG. Loren Foote was then presented with the Horton Vacation Trophy for his \"High Sierras\" film, which won for him in the annual Club contest.\n\nAs part of his platform of \u201ca\u201d (incomplete)\nMembers were requested to bring a fifty-foot reel from each member. President Leitch presented an honor roll prepared by Club Artist Clardy. Names of members exhibiting films at meetings would be placed on the roll and hung in a conspicuous place at each meeting. Another feature for the year was a box where members could deposit unsigned suggestions or criticisms regarding club activities.\n\nThe meeting was then turned over to George Blaisdell, editor of The American Cinematographer. He in turn introduced William Stull, who presented the winning pictures of that magazine's 1938 International Contest. All pictures had been set to music by Mr. Stull, who, as in former years, supervised the recording.\n\nV.P. Burdick, Secretary, Philadelphia Cinema Club\n\nIt was a pleasure to hear from G.C. Crebbin of the Bausch & Lomb Optical Company and to see the motion picture.\n\"Eyes of Science' developed by the company presented at the Philadelphia Cinema Club's January meeting in relation to motion picture lens manufacturing. Both the picture and Mr. Crebbin were present and enjoyed. At the December meeting, \"Herb\" McKay demonstrated proper indoor Kodachrome lighting. He supported his demonstration with a film shown at the January meeting, confirming his explanation of light values.\n\nCourtesy of East Faxton Dean Inc.\nCAMERAS\nBLIMPS-DOLLYS FOR RENT\n4516 Sunset Boulevard\n\nNew Rerecorder\nFirst Complete Independent Rerecording System.\nRERECORDING HEAD \u2014 Uses Standard Plug-in Camera Motors. Can be Used for Playback on Set.\nInterlocking Motor System with Distributor Set.\nAMPLIFIERS with Extended Mixers \u2014 Having a Wide Range of Equalizers.\"\nA.C. operated the A.C. power panel. Arthur Reeves, Motion Picture Equipment, showed the membership an 800-foot black-and-white film called \"Safety First and Last.\" George Pittman, head of the technical committee, shot the film for Bell Telephone. S. Trennor presented a 400-foot film showcasing the glories of Wissahickon. Carl Finger screened an 800-foot Kodachrome film, taking us from Philadelphia through Central Pennsylvania to the Grand Canyon of Pennsylvania, Niagara Falls, and back on a rare tour of autumn color. Members were invited to a private film showing at the station.\n\n88 American Cinematographer \u2022 February, 1939\nAn ern division of the Bell Telephone Company presented the membership with a privileged viewing of its 800-foot black-and-white film, titled \"Safety First and Last.\" George Pittman, the technical committee's head and photographer, captured the film for Bell Telephone.\n\nS. Trennor displayed a 400-foot film depicting the Wissahickon's glories. Carl Finger shared an 800-foot Kodachrome film, transporting us from Philadelphia through Central Pennsylvania to the Grand Canyon of Pennsylvania, Niagara Falls, and back on a unique autumn color tour. Members received an invitation to a private film showing at the station.\n\n88 American Cinematographer \u2022 February, 1939\nThe Bell Telephone Company's ern division granted members a special screening of their 800-foot black-and-white film, titled \"Safety First and Last.\" George Pittman, the technical committee head and photographer, produced the film for Bell Telephone.\n\nS. Trennor exhibited a 400-foot film highlighting the Wissahickon's splendor. Carl Finger showcased an 800-foot Kodachrome film, taking us from Philadelphia through Central Pennsylvania to the Grand Canyon of Pennsylvania, Niagara Falls, and back on a remarkable autumn color tour. Members received an invitation to a private film showing at the station.\nJanuary 23, B.N. Levene and others were to be the guests of the Philadelphia Photoographic Society in its studios on January 31.\n\nRobert Linderman Visits Hollywood\nRobert Linderman, managing director of Mole-Richardson (England) Ltd., of London, is currently visiting Hollywood. The head of Mole-Richardson\u2019s thriving British affiliate made the trip to survey the latest Hollywood technical advances and to keep in touch with the progress of design and manufacturing methods at the M-R parent plant.\n\nDallas News about our recent contest and a program of the Open House, where we entertained approximately 350 guests.\n\nOur last meeting was a gadget meeting, at which all members brought equipment they made themselves. This is a real idea for other clubs to follow if their members like to make their own. It was really surprising to see the fine equipment that had been made.\nby these amateurs. Contest judges were R. K. Johnston of Interstate, James Lovell of the Dallas Times-Herald, and Fairfax Nesbit of The Dallas News.\n\n\u2022 Fonda developing machinery introduces a new all-friction driving principle.\n\u2022 No tight spots or slack can develop.\n\u2022 Film tension is adjustable by the operator.\n\u2022 All driving parts are out of solutions and run on grease-sealed ball bearings.\n\u2022 Safety and control for both positive and negative.\n\u2022 Capacity from 1000 feet per hour to any laboratory requirement.\n\u2022 Machines now being shown.\n\u2022 Developing machines to handle any kind of motion picture film, including 8mm.\n\u2022 A specially priced 1000 foot per hour 16mm unit with developer agitation and temperature control is available.\n\nCable address \u2014 \u201cFONDA\u201d\nFONDA MACHINERY COMPANY\nCine Club of Dallas\n\nAt present, the Cine Club of Dallas is in the process of expanding its membership.\nThe ship and now has approximately fifty members. These amateurs meet the first and third Tuesdays of each month at the Jefferson Hotel. We have completed several club pictures; the latest, a topical picture of the City of Dallas, was presented to the Dallas Chamber of Commerce.\n\nThe pictures mentioned do not include any made by individuals in the club. They have been very active. We would like to exchange pictures with any club desiring to exchange with us.\n\nI am enclosing a clipping from Laboratory Equipment:\n\n16MM\nContinuous Contact Printers\nLight Testing Machines\nDeveloping Machines\n\n35MM\nRegistration Step Printers\nBi-Pack Color Printers\nLight Testing Machines\nOptical Printers\nDeveloping Machines\n\nLaboratories write for details\n\nFried Camera Co.\n6156 Santa Monica Blvd.\nHollywood, CA\nCable Address: FR1EDCAMCO\n8928 Santa Monica Boulevard, Los Angeles, CA\n[RE-RECORDING SYSTEM\nFeatures:\n\u2022 Rotary Film Drum.\n\u2022 Interlock Motors.\n\u2022 Distributor System.\n\u2022 Variable Hi and Lo Frequency Equalizers.\n\u2022 Photo-cell pre-amplifiers.\nThese re-recording systems have been in actual operation here and abroad for the past two years.\nBLUE SEAL SOUND DEVICES, INC.\n723 Seventh Ave., New York City\nCable Address: SOUNDFILM\nFebruary, 1939. American Cinematographer 89.\nPhoto by Bert Glennon.\nThe Eighth Art. Victor Keppler.\nWilliam Morrow and Company, Inc., New York. DeLuxe Edition. $12.50.\nWilliam Morrow and Company display excellent taste in its presentation of \u201cThe Eighth Art,\u201d by Victor Keppler. The efforts of each and every individual and firm concerned deserve praise and congratulations for their accomplishment.]\nA beautifully mounted book makes an effective plea for a place in the library of the most discriminating. Between its covers, the romance of color and color photography is disclosed. The author speaks with the authority of persistent research, holding your interest as he brushes away cobwebs to pick out important transitions in the life of the color photograph.\n\n\"The Eighth Art\" tells us how to make practical the theories of those great men who gave us color. The author's experiences serve as a shortcut to the success of our first attempt at making a color print. He helps in the selection of the proper equipment for making negatives. He explains each step in a manner comparable with our ability to follow directions. He gives us a clear picture of the life of the color photograph up to the present day.\nTo the advanced student, the Eighth Art is a historical compilation of the progress of color photography and the author's application of various methods of making a color print. To this reviewer, the book was absorbing and convincing up to the point where the author digresses to introduce his personal opinions and criticisms of present-day motion picture production with respect to its \"black and white movies \u2014 color added.\" His foot-stamping exclamation, \"I am furious at Hollywood because they have concentrated on natural color and overlooked emotional and psychological color values.\" Whether or not this chapter on Hollywood landsides this book into unpopularity among the leaders of progress in the motion picture industry remains to be seen.\n\nBert Glennon, A.R.P.S.A.S.C.\nEverything Photographic\nFor Professional and Amateur\nThe World's Largest Variety of Cameras and Projectors. Laboratory Equipment with Latest Improvements, Hollywood Studios. New and Used.\n\nHollywood Camera Exchange\n1600 Cahuenga Boulevard\nHO 3651, Hollywood, California\nCable: Hocamex\n\nTwin Arc Broad, Motor Drive, Solenoid Strike, Fixed Arc Gap, Constant Color, Light Weight, Simple Operation. Portable grid may be attached to either head or stand.\n\nBardwell & McAlister, Inc.\nMotion Picture Electrical Equipment\n7636 Santa Monica Blvd.\nHollywood, California\nTel. HO. 6235\n\nAcoustically Treated\n\n90 American Cinematographer \u2022 February, 1939\n\nPhotographic Chemicals and Solutions ...\n\nCrabtree, Matthews\n\nInto the making of this book, illuminated with nearly 100 illustrations, have gone some of the knowledge acquired by Messrs. Crabtree and Matthews during the past twenty-five years.\nin compounding photographic solutions and studying their application to photography in the Research Laboratories of the Eastman Kodak Company. The nucleus of this work was contained in the article \"How to Prepare Photographic Solutions\" (Brit. J. Phot. 66: 365, 1919). Subsequently, many scientific papers cognate to this subject were published by the authors and their coworkers, and the material of practical value in these papers has been collected.\nEverything: Photographic Professional and Amateur Sales Rentals SERVICE DOLLIES BLIMPS V SOUND X EQUIPMENT Harrison FILTERS ARRO v Lights Motion Picture Camera Supply\u2122 723 SEVENTH AVENUE, NEW YORK. N.Y. BRyant 9-7755 \u2022 cable CINECAMERA\n\nRELIABILITY\nMore than 230 Berndt-Maurer sound-on-film recording units are now in daily use, in all parts of the world. They are subjected to all the usual hazards to equipment common to the sound-movie business. But, only eleven of them have been returned for repair.\n\nThe Berndt-Maurer Corp. 117 EHST 24th 5T* I1EUI VDRH\n\nExtracted and combined in this single volume for reference purposes. To this:\n\nA Compact, Rugged 35mm S-O-F Recording Unit for Symmetrical V.A. Track.\n\nThe Berndt-Maurer Model F Unit\n...\n\nA Compact, Rugged 35mm S-O-F Recording Unit for Symmetrical V.A. Track.\nThe compilation includes significant unpublished information. This book caters to both small and large users of photographic chemicals. The authors express their hope that it will be beneficial for all types of photographers, including amateurs, professionals, scientific investigators, x-ray, photo finishing, photo-mechanical, and motion picture workers.\n\nIn their introduction, the authors mention that most amateur photographers prefer to buy their chemicals in prepared form. They note that in recent years, advanced amateurs, professional photographers, and photofinishers have also started using package chemicals more extensively. However, many workers and the majority of motion picture laboratories prepare their photographic chemicals.\nSolutions from component chemicals. Emphasis is laid on the fact that knowledge of the fundamental principles of solution preparation and use is important, whether prepared powders of component chemicals are preferred. They serve notice that it is the purpose of the book to supply such information. The book consists of thirteen chapters covering 278 pages, and an appendix and indexes covering an additional 82 pages. The book is finely made in all departments. It is in keeping with what one would expect from Messrs. Crabtree and Mathews \u2014 that it should be top-notch in the realm of photography.\n\nPhotographic Chemicals and Solutions. By J. I. Crabtree and G. E. Mathews. Kodak Research Laboratories, Rochester, NY. American Photographic Publishing Company, Boston 16mm. Test Reel\n\nA new 16mm precision test reel for projection in sound has been announced.\nby the S.OS. Cinema Supply Corporation of New York City. This test reel is especially valuable to the visual education or physics departments in schools and institutions, and in fact, wherever 16mm. sound-on-film pictures are projected and studied.\n\nMUST SACRIFICE\nDE BRIE SUPER PARVO\nType Ultra Silent Camera \u2014\n/Vo Blimp Necessary\nHas built-in motor, automatic dissolve, pilot pins and anti-buckling device. Four 1000-ft. magazines\u2014 40 mm., 50 mm., and 75 mm. F2.3 lenses, De Brie upright finder, set of front attachments. Leather covered carrying trunk. It's the latest type equipment.\n\nCamera Equipment Co.\n1600 Broadway New York City\nTel. Circle 6-5080 Cable: Cinequip.\n\nFebruary, 1939 \u2022 American Cinematographer 91\n\nB&H 138 FILMOSOUND\n\nEquipped with\n\nA new automatic pilot light will be standard equipment for Abell & Howell bulletin.\non all Model 138 Filmosound projects effective with January production. The pilot light is situated on top of the blower housing to illuminate the projector film-moving mechanism and amplifier controls. The light is operative as soon as the projector current supply cord is connected with a current source.\n\nThe pilot light is turned on automatically by pulling the pilot light cap out of its housing. Pressing the cap back into the housing turns off the light. The lamp is easily accessible for replacement by unscrewing the pilot light cap.\n\nThrough use of this new ever-ready lamp in World (Old* Us<z pr*7<d<_ie^ and many other \"Diffused Feus\" and \"Gcortjo H. Scheibo ORIGINATOR OF EFFECT FILTERS LOS ANGELES. CAL Motion Picture Scenario \"OX TO CHATTANOOGA\u201d\n\nAn interesting dramatic story, pertaining to\nU.  S.  Civil  War,  can  be  revised  to  pertain \nto  Spanish  Civil  War.  Contains  elements \nof  surprise,  mental  punch,  physical  punch, \ncontrast  of  characters,  strong  emotional \nappeal,  adapted  to  entertain  children, \nadults.  Dialogue  synchronized  with  dra\u00ac \nmatic  action. \nMotion  Picture  Producers  communicate  with \nSAMUEL  GOLDSTEIN \n275  E.  Gunhill  Rd.  New  York  City \npilot  light  the  projector  operator  can \nperform  film-threading  operations  and \nsee  to  operate  amplifier  controls  with\u00ac \nout  resorting  to  other  illumination.  11- \nNO  MORE  LOST  PICTURES \nWhen  You  Use  a \nJacobson \nSynchronizer* \nAlways  in  \u201cSync\u201d \nfor \nPERFECT \nFLASHES \nStays  on  the  camera  open \nor  closed.  Does  not \nBANG  the  shutter. \nFOR  THE \nSpeed  Graphic \nIn  \u201cSync\u201d  from  l/25th \nto  l/250ih  of  a  Second. \nComplete \n(Pat.  App.  For) \nFOR  THE  LEICA \nAND  CONTAX \nn  \u201cSync\u201d  from \nl/50th  to \nSecond. \n(Pat. \nApp. \nFor) \n*Used  by  the  World\u2019s  Leading  News \nPhotographers and Hollywood Movie Studios. At your Dealers - Write for Catalog Irving Manufacturing Co. 1537 No. Hoover St. Dept. AC2, Hollywood, Calif.\n\nNew pilot light now standard equipment on Bell & Howell Model 138 Filmosound Projector. Illustration herewith shows pilot light - both \u201con\u201d and \u201coff\u201d position - as mounted on a Bell & Howell Model 138 Filmosound.\n\nTechniprocess Corporation Reorganizes and Expands\n\nThe Motion Picture Process Corporation has reorganized as the Techniprocess and Special Effects Corporation. Mario Castegnaro continues as president, with Bertha Castegnaro as secretary. Equipment in the plant at 1117 North McCadden Place is being expanded. This also applies to the battery of Flatlite Screens, which at present comprises a half dozen, ranging in size up to 16 by 20 feet.\n\nThe personnel lists Richard Fryer.\nA.S.C: Lewis L., general manager; A.S.C: Lewis Mellor, optical technician and consultant; Lewis Physioc, art director; Paul R. Cramer, projectionist; Fred C. Windermere, special representative.\n\nNew Size Agfa Acid Hypo: In response to photographers' requests for a larger-sized container of acid hypo for convenience and economy, a new one-gallon (two-pound) container of Agfa acid hypo has been announced. Available at all photographic dealers for S.45, the new one-gallon size of acid hypo provides a ready-to-use fixing solution when dissolved in water.\n\nCooke Lenses: Easily passing tests that are more exacting than present uses, Cooke Lenses offer assurance of meeting both your present and future needs. Speeds and focal lengths for every requirement. Write for descriptive literature.\n\nBell & Howell Company: Exclusive World Distributors of\nAgfa's new universal safelight outfit with interchangeable safelight filters has been introduced by Agfa. The complete set includes a black enameled Agfa safelight lamp, Agfa A-3 green safelight filter, Agfa A-7 red safelight filter, and a 10-watt yellow bulb. The yellow bulb, used in the lamp without a filter, provides safelight illumination for contact printing papers such as Convira. With the red filter, the safelight may be used for Plenachrome and other orthochromatic films. When developing panchromatic films, except those which require development in red safelight.\nin  total  darkness,  the  yellow  bulb  and \nthe  green  filter  assure  safe,  indirect \ndarkroom  illumination. \nThe  lamp  fits  any  standard  electric \noutlet  and  may  be  screwed  into  either \na  wall  socket  or  drop  cord  outlet.  Be- \ncause  of  its  compact  and  convenient \nform,  the  safelight  may  be  moved  about \nand  placed  in  positions  impossible  with \na  larger  type  lamp.  It  is  listed  at  $1.95. \nWholesale  Takes  on  Eumig \nJohn  Brassington  and  Joseph  Braw- \nner,  operating  under  the  corporation \nname  of  Wholesale  Camera  Supply \nCompany,  122  East  Seventh  street,  Los \nAngeles,  have  taken  on  the  distribution \nof  the  Eumig  C4  camera.  It  is  designed \nfor  double  8mm.  film  and  is  operated \nby  an  electric  motor.  It  is  equipped  with \nan  f.2:5  Berthiot  anastigmat  lens.  The \nweight  is  22  ounces  and  the  size  2  by \n3%  by  4%  inches. \nMOVIOLA \nFILM  EDITING  EQUIPMENT \nUsed  in  Every  Major  Studio \n[1451 Gordon St., Hollywood, Calif. - Movola Co.\nKodachrome\nDuplicates E\nStith-Noble Corp., 645 North Martel Ave., Hollywood, Calif.\n\n\u2022 Duplicates\nClear, Sparkling 8mm Duplicates at just 4c per foot!\n\u2022 4c per finished foot with ad\n\u2022 Reversal & Negative Processing\n\u2022 Complete 8mm Laboratory Facilities\n\nEsso-S Pictures, 3945 Central St., Kansas City, Mo.\n\nAgfa introduces new printing frame\nAgfa announces a new printing frame for negatives ranging from 1 by 1.5 inches to 4 by 6 inches. The new model is called the Agfa Masking Print-Frame, and it is equipped with adjustable masks to accommodate negatives of various sizes. This improved masking device also allows for undistorted microscopic definition and clear-cut, crisp brilliance. Focal lengths from 15mm to 100mm can be fitted in suitable focus.]\nReflex Focuser for Amateur and Professional Movie Cameras.  REFlex eliminates parallax between finder and lens, providing a full-size groundglass image magnified 10 times. Adaptable to lenses 3\" and up. Also useful as an extension tube for shorter focus lenses for close-ups. Extensively used in shooting surgical operations, small animal life, etc.\n\nContact Dept. A.C.2, C.P. GOERZ AMERICAN OPTICAL CO. (Makers of American Lenses Since 1899)\n\nMakes possible easy and quick cropping of negatives. In addition, lengths are marked off in inches along each side so that the print may be made accurately to the desired dimensions.\n\nJoe Ruttenberg, A.S.C., who recently photographed \"The Great Waltz\" for MGM, left January 10 for a visit to his old home in and around Boston. He will return to his later home in Beverly Hills to learn \"The Great Waltz\".\nEmery Huse, West Coast Manager of Eastman Kodak Company and technical editor of American Cinematographer, has been named as his studio's candidate for the photographic award for 1938 to be bestowed by the Academy. He sails on February 1, 1938 for Australia and will be away until April 19, attending to Kodak business and visiting both Sydney and Melbourne. He will be accompanied by his family.\n\nGeo. W. Colburn Laboratory\nSpecial Motion Picture Printing\n1197 Merchandise Mart, Chicago\nSave Money \u2013 Buy Your Film By Mail\nHollywood 16mm, 1 Outdoor\nBuy minimum 2 rolls\nNon-Halation, fine grain, ample latitude. Above price includes machine processing, spooling, mailing. California buyers include sales tax.\n\nHollywoodland Studios\n9320 Calif. Ave, South Gate, Calif.\nPlus 10c per roll.\nFebruary, 1939 \\\\ American Cinematographer 93\n\nEngineers Expect Best Convention Ever\n\nThe Pacific Coast Section of the Society of Motion Picture Engineers is busy arranging for what is anticipated to be the best SMPE convention ever held on the coast. It is expected to surpass in subject matter and attendance the last convention here in 1937. The date this year is April 17 to 21, and the Hollywood Roosevelt Hotel is the place.\n\nMajor Nathan Levinson, executive vice president of the SMPE for the current year; Loren Ryder, Convention Vice-President of the section; and Homer Tasker, governor of the parent body and chairman of local arrangements, head the large group of local members setting details and arrangements.\n\nConvention sessions will be open to all Hollywood technicians and engineers.\n\nMajor Nathan Levinson, executive vice president of the SMPE for the current year\nLoren Ryder, Convention Vice-President of the section\nHomer Tasker, governor of the parent body and chairman of local arrangements\nProgram for technicians in the industry, including cameramen and others interested in technical phases and developments. The program is being arranged to be as complete and informative as possible for those on the production side.\n\nFor the convenience of those employed in studios and plants who might not be able to attend daytime sessions, arrangements have been made for presentations of important papers on sound, photography, latest laboratory practices, and other subjects of studio interest. These will be held Tuesday, April 18, and Wednesday, April 19, at the Filmarte theatre on Vine Street.\n\nTentative program, arranged by Convention Vice President W. C. Kunzmann during a recent visit to Hollywood:\n\nMonday: Informal luncheon and welcome by eminent men in the industry; afternoon, technical session.\ncommittee reports; morning and evening sessions for visiting members and guests.\n\nTuesday \u2014 Morning: technical session. Afternoon: studio visit. Evening: technical session at Filmarte theatre.\n\nWednesday \u2014 10 a.m. and 2 p.m.: technical sessions. Evening: session at Filmarte theatre.\n\nThursday \u2014 Morning: technical session. Evening: semi-annual banquet and dance in Blossom Room.\n\nFriday \u2014 1:30 p.m.: technical, business session and open forum.\n\nMost technical sessions will be held in the Blossom Room of the Roosevelt. Arrangements are being made for the sale of 1939 Bulletin on used and rebuilt equipment. Write for your free copy! Motion Picture Camera Supply, Inc. 723 Seventh Avenue, New York City Cable Address: Cinecamera\n\nNew Precision Test Reel for Projection and Sound. Developed by prominent SMPE member. Combination visual, sound tests.\nThe World's Largest Studio and Laboratory equipment with latest improvements as used in Hollywood. New and Used. Mitchell, Bell-Howell, Akeley, De Brie, Eyemo, animation process cameras, lenses, color magazines, adaptors, lighting equipment, silencing blimps, dollies, printers, splicers, moviolas, motors, light-testers, gear boxes, synchronizers. Guaranteed optically and mechanically perfect. Send for bargain catalog.\n\nHollywood Camera Exchange\n1600 Cahuenga Blvd. Hollywood, Calif.\nCable : Hocamex\n\nBell & Howell 170\u00b0 Camera with fearless movement, 4 lenses (Zeiss, Dallmeyer and).\nCooke Panchro: 2 Twin Bi-Pack magazines, 1000-ft magazine, B&H Tripod and cases, $1000 complete.\n\nGillette Camera Stores, Inc., 117 Park Ave., New York City.\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.\nEstablished since 1910.\n\nNathan Levinson\nExecutive Vice-President\n\nExtensive equipment exhibit on mezzanine floor of hotel. Latest models of equipment being introduced by manufacturers.\n\nBell & Howell 170\u00b0 Cameras: high speed shuttles, high speed gear boxes, 400 and 1000 foot Bell & Howell magazines, Bell & Howell tripods, motors.\nMitchell silenced cameras. Akeley and Debrie Cameras. Akeley motors. High speed motors. Sunshades, lenses, and finders.\n\nCamera Equipment Company.\n1600 Broadway, New York City\nTel: Circle 6-5080, Cable: Cinequip\n\nFor Sale:\nAkeley Camera with two lenses (2 and 6 inches), five magazines, Akeley Gyro tripod cases for all - $475.00\nDeBrie Parvo camera with automatic shutter and focus on film magnifier, three lenses, magazines, DeBrie precision tripod, solid leather cases for all - $250.00\n1 Universal camera with automatic shutter, one 2-inch F3.5 lens, three 200-foot magazines, universal included head tripod - $90.00\n1 Devry spring drive camera, 2-inch F3.5 lens, heavy friction head tripod, solid leather case for camera - $75.00\n1 Graflex with Kodak f4.5 lens, holder for twelve cuts films, also film pack holder - $40.00\n\nSpecial price if desire all above equipment in lump.\nFlorida Commercial Films, 21 N. Ocean St., Jacksonville, Fla.\n\nWanted\nWE PAY CASH FOR EVERYTHING: PHOTO, GRAPHIC. Write us today. Hollywood Camera Exchange. 1600 Cahuenga Blvd., Hollywood. 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. Classified Advertising.\n\n94 American Cinematographer \u2022 February, 1939\n\nFilmosound 138-P\nIncludes all the features essential for viewing 16 mm. sound movies at home with one of these two new Filmosounds! You\u2019ll be able to show late Hollywood feature pictures, newsreels, comedies, cartoons, and \u2014 with the same projector \u2014 the 16 mm. silent films which you take yourself.\n\nThe two Filmosounds pictured are compact, portable, and very simple to operate. They project brilliant, theater-clear, theater-steady images.\nPictures come with full-range sound reproduction. Bell & Howell's precision construction ensures quiet, uninterrupted operation and lasting dependable service. Write for complete details on these sound film projectors. Also ask for an up-to-date list of a thousand Filmosound Library films, including Hollywood features from M-G-M, RKO, Universal, and other big studios. Films are available for rental or purchase. Bell & Howell Company, Chicago, New York, Hollywood, London. Established 1907.\n\nPrecision-built cameras for personal movies.\nFilmosound 142:\nOffers all the features of the 138-P, plus greater picture illumination and more than twice the maximum sound volume, making it suitable for use in auditoriums as well as at home. Also, the 142 has a reversing mechanism, still-picture clutch, and provision for using a microphone and a phonograph turntable. Price: $410.\n[1848, Bell & Howell Company, 1848 Larchmont Ave., Chicago, III, Send complete details on: 16 mm. Filmosound Projectors, List of Sound Films, 16 mm. Silent Projectors, 8 mm. Silent Projectors, New Filmo l4l Camera, Filmo Turret 8, Palm-size Filmo 8.\n\nNEW TURRET 8\nCombines the economy of 8 mm. film with complete readiness for all picture opportunities. Mounts your choice of three lenses and matching viewfinder objectives on the turret. Has a positive-type finder and magnifying critical focuser. With speeds 8, 16, 24, 32 frames per second and FILM O 8 \u2013 Four speeds, single-frame exposure device, finder masks for telephoto lens, built-in exposure calculator, quick, easy loading \u2014 these are only a few of the features you get in the palm-size Filmo 8. It\u2019s so simple to operate you can\u2019t go wrong.]\nWith a 3.5mm lens for home projection of 16mm films. Has \"blimp\" case for quiet operation, speaker-hiss eliminator, \"floating film\" protection, 750-watt lamp, and three-quarter-hour sound film capacity. Complete in two light cases for $298.\n\nNEW AUTOMATIC FILMO 141\nOpen the door, slide in prethreaded magazine of 16mm color or black-and-white film, snap door shut, and Filmo 141 is loaded, ready to take the kind of movies you've always wanted. Its new \"projected area\" viewfinder eliminates off-center pictures. Its fast F 2.7 lens is interchangeable with a full range of special-purpose lenses, for which matching viewfinders are also available.\n\nNEW MITCHELL STUDIO CAMERA\nAdvanced design permits easy, silent operation. No Blimp necessary.\n\nMITCHELL CAMERA CORPORATION\n665 North Robertson Boulevard.\nMarch, Published in Hollywood by American Society of Cinematographers\n\nFather Meus, Ruttenberg Takes Academy Award\nFixing Up Family Films, Sprungman\nCinecolor Opens Burbank Plant\n16mm Zoom Lens\nAugust Wins Reporter Poll\nBlaisdell, Music for Contest Winners\nStull, Documentary Films\nSchustack, Littles' Party Films\nNear Deadline, Cutting Parallax\nWorries\n\nJoe Ruttenberg at Academy Awards Banquet\nTheir fine photographic quality gives an excellent screen result. Their roll after roll uniformity lets you repeat with consistency.\nRely on Du Pont Raw Stock.\nFor your next production schedule.\n\nDu Pont Film Manufacturing Corporation\nINCORPORATED\n9 Rockefeller Plaza\nSmith & Aller, LTD.\nNew York, NY 6656 Santa Monica Blvd.\nPlant, Parlin, NJ Hollywood, CA\nBetter Things for Better Living through Chemistry\n\n98 American Cinematographer \u2022 March, 1939\n\nOutstanding Cinematography\nmm\n\nCongratulations to Joseph Ruttenberg, A.S.C.\nAcademy Award Winner\nBest Photography\nMetro-GoldwynMayer\u2019s\n\u201cThe Great Waltz\u201d\n\nSmith & Aller, LTD.\nPacific Coast Distributors\nDu Pont Film Manufacturing Corp.\n\nEleventh Annual Awards of Merit by the Academy of Motion Picture Arts and Sciences\nMarch, 1939 \u2022 American Cinematographer\n\nIf Mr. Hyde had been a good man...\nIf Mr. Hyde had been a good man,\nwe might have compared\nthe new Eyemo with the swift-changing, dual personality of Dr. Jekyll and Mr. Hyde. The new Eyemo.\nThe Eyemo is capable of impressively quick and complete transformations. In all of its many phases, it remains good. From a handy, spring-driven hand camera, the Eyemo can be converted with attachments to meet every professional demand - a superior, versatile 35 mm movie camera ready for any emergency in field or studio. What will you require? A swift shift of lenses? Conversion from 100-foot film capacity to 200- or 400-foot magazines? A tripod mount or a light, easy-to-handle hand camera? A change from electric to spring or hand drive when convenience dictates? A camera for silent film or a hookup for sound? Slow motion or silent or sound speeds? Whatever the demand, the new Eyemo is there to meet it. Made with typical Bell & Howell precision and yet with a sturdiness that gives it unmatched dependability.\nability in the strenuous work for which it is designed. Such features as a three-lens turret, focusing and diaphragm controls visible through the spyglass viewfinder, interchangeability of motors, standard S.M.P.E. sound aperture, and vibrationless governor assuring accurate speeds make the new Eyemo distinctly superior in the field of portable cameras \u2014 an instrument of unexcelled performance universally popular with newsreel cameramen, explorers, and other professional photographers.\n\nWrite for detailed information \u2014 it will be mailed without obligation.\n\nBell & Howell Company\n1848 Larchmont Avenue, Chicago, Illinois\nNew York: 30 Rockefeller Plaza \u2022 Hollywood: 716 N. La Brea Avenue\nLondon: 13-14 Great Castle Street\nEstablished 1907\n\nBell & Howell\nBell & Howell Company\n1848 Larchmont Ave., Chicago, Illinois\n\nPlease mail me a copy of your Eyemo.\nName .\nAddress .\nCity . State .\nMarch 1939 \u2022 American Cinematographer 99\nPhoto by Heron, Lony Bench, California.\n\nAmerican Cinematographer\nA Technical and Educational Publication on Motion Picture Photography.\nPublished monthly by the\nAmerican Society of Cinematographers, Inc.\n1782 North Orange Drive, Hollywood (Los Angeles), California\nTelephone Granite 2135\n\nVictor Milner, President\nFred W. Jackman, Treasurer\n\nContents\n\nRuttenberg wins Academy\u2019s camera award\nDeadline approaching for Tenth Movie\nEnglish documentaries gain theater interest . 104\nAugust\u2019s \u201cGunga Din\u201d takes Reporter\u2019s poll for January . 105\nBy George Blaisdell\nFirst semester at U.S.C. active in camera work . 107\nBy Jack Cooke, S.A.C.\nSetting 1938 Contest winners to music . 108\nBy William Stull, A.S.C.\nFilm production in Brazil . 110\nBy William B. Larsen\nFixing up family films .\nBy Ormal I. Sprungman\nCinecolor opens Burbank plant. Maurice Kains builds automatic agi- system. Remerscheid named Bell & Howell vice president. Father Meeus battles for youth of China with camera. Describes youth of China. By Father Charles Meeus. Bureau of Mines goes strong on film-making. Cutting parallax worries in hand cameras. Walker builds zoom lens for 16mm. Documentary filming in America. By Edward H. Schustack. Dorothy\u2019s Double-Date \u2014 a script. Art Reeves home from Cuban trip. Among Movie Clubs. RCA builds largest loudspeaker. New Publications. General Electric process to remove glare from glass.\n\nEditor: George Blaisdell, Washington\nStaff Correspondent: Reed N. Haythorne, A.S.C.\nTechnical Editor: Emery Huse, A.S.C.\nAdvisory Editorial Board: Victor Milner, A.S.C.\nJames Van Trees, A.S.C.\nFred W. Jackman, A.S.C.\nFarciot Edouart, A.S.C.\nFred Gage, A.S.C.\nDr. Herbert Meyer, A.S.C.\nCirculation Manager\nL.F. Graham\nNew York Representative\nS.R. Cowan, 19 East 47th Street, New York.\nPhone Plaza 3-0483.\n\nThe front cover:\nJoe Ruttchenberg, A.S.C., is photographed by Pat Clark just after he has returned to his table at the Academy Awards banquet following his presentation of the symbol for the Best Photography for 1938. The picture was M-G-M's \u201cThe Great Waltz.\u201d\n\nForeign Representative:\nGeorges Benoit, 100 Allee Franklin.\nPavillons-sous-Bois, Seine, France.\nTelephone LeRaincy 13-19.\n\nAustralian Representative:\nMcGill's, 179 Elizabeth Street, Melbourne,\nAustralian and New Zealand agents.\n\nNeither the American Cinematographer nor the American Society of Cinematographers is responsible for statements made by authors.\nEstablished 1920. Advertising rates on application. Subscription: $2.50 a year (United States, Canada, and Pan-American Union); $3.50 a year (Foreign). Single copies, 25 cents; back numbers, 30 cents (Foreign, single copies), 40 cents (back numbers). Copyright 1939 by American Society of Cinematographers, Inc.\n\nEntered as second class matter November 18, 1937, at the postoffice at Los Angeles, California, under the Act of March 3, 1879.\n\nAmerican Cinematographer \u2022 March, 1939\n\nThe Film with the Longer Working Day\n\nIt is only by the use of faster film that you can increase the length of your working day on location \u2014 start earlier, stop later, shoot pictures in heretofore impossible weather.\n\nThe name of the Film that will lengthen your actual working day is AGFA SUPREME.\n\nWinner of the Academy Award a year ago.\nSUPREME is a high-speed film that is outstanding in grain size, color balance, and gradation. For news reel work or shots where speed is the primary importance, use AGFA ULTRA-SPEED PAN. It's the fastest 35mm film manufactured.\n\nSpecify these two great Agfa films from now on. Made by Agfa Ansco Corporation in Binghamton, New York.\n\nAGFA RAW FILM CORPORATION\n\nNEW YORK\n245 West 55th Street\nTel. Circle 7-4635\n\nMarch, 1939 \u2022 American Cinematographer\n\nRUTTENBERG WINS ACADEMY ANNUAL CAMERA AWARD\n\nJoseph Ruttenberg, A.S.C., received honors for best photography in 1938 from the Academy of Motion Picture Arts and Sciences. The picture was M-G-M\u2019s \u201cThe Great Waltz.\u201d Incidentally, this was the second major photographic honor bestowed upon the subject.\n\nThe January issue of this magazine told how The Hollywood Reporter\u2019s picture editor, Harry J. Wild, selected Ruttenberg's work for the magazine's cover.\nThe correspondents' poll named Ruttenberg's work the best film of any released in November. The text detailed how the future photographer was born in Lynn, Massachusetts, a shoe town about eight or nine miles north of Boston. It described how, when he was six years old, his parents moved the family to Chelsea, which was closer to Boston. As a lad, he was first employed on the Boston American as a copy boy. His pay was $3 a week. A few months into the job, he was told he would be let go in a reduction of the force. In desperation, he put in extra effort for the remaining hours and instead of being fired, he was retained with a weekly pay increase of 50 cents. The story went on to recount the events leading up to a promotion, when he was asked to perform a task.\nHe preferred the photographic department and followed the trade of a newspaper staff photographer for eight years, with its accompanying dangers, scoops, and adventures. Ruttenberg was lured from his newspaper work by an offer from the Boston opera company to join its staff as a photographer. One of his first assignments was to accompany the troupe to Paris. Upon his return, he became interested in motion pictures, which resulted in his organization of a New England news reel for supplying theaters in that region.\n\nTo Paris with the Opera\n\nIn a short time, he was engaged by William Fox to do regular production work in the New York studio. After ten years, he came to Hollywood. He made one picture for Warner Brothers. That was three and a half.\nHalf a decade ago. At that time, he was employed by M-G-M. He has been in the Culver City studio ever since.\n\nThere were three special awards by the Academy in the photographic field.\n\nFirst on the list was Color Cinematography, special award, plaque trophies \u2013 \"For the color cinematography of the Metro-Goldwyn-Mayer production 'Sweethearts,' Oliver Marsh, A.S.C., and Allan Davey, A.S.C.\"\n\nSpecial Effects, special award, plaque trophies \u2013 \"For outstanding achievement in creating the special photographic and sound effects in the Paramount production, 'Spawn of the North.' \"\n\nThe men cited were: Special effects, Gordon Jennings, A.S.C., assisted by Jan Domela, J. Dev Jennings, A.S.C., Irmin Roberts, A.S.C., Art Smith, A.S.C. Transparencies, Farciot Edouart, A.S.C., assisted by Loyal Griggs, A.S.C. Sound effects, Loren Ryder, assisted by Harry Mills, Louis H. Mesenkop, Walter Oberst.\nFor Oliver Marsh, A.S.C., and Mrs. Marsh, shown at a table in the Biltmore Bowl during the annual award banquet of the Academy. Mr. Marsh and Allan Davey, A.S.C., have just been awarded a special trophy \"for the color cinematography\" of the MGM picture, \"Sweethearts.\"\n\nPhoto by Pat Clark\n102 American Cinematographer \u2022 March, 1939\n\nHis outstanding contributions to the advancement of color in motion picture photography, J. Arthur Ball of the Technicolor Company honors Mr. Marsh.\n\nThe Research Council, with the approval of the Academy Awards Committee, bestows honorable mention for scientific or technical achievement:\n\nTo: Byron Haskin, A.S.C., and the Special Effects Department of Warner Brothers Studios, for pioneering the development, and for the first practical application to motion picture production.\nThe method utilizes three projectors mounted on one center base, operating as a single unit and superimposing three identical pictures on a single screen. This triple head projector provides greater illumination on proportionate size screens and permits the use of much larger screens in background projection. This greatly increases the possibilities of process photography, in color as well as in black and white.\n\nTo John Aalberg and the RKO-Radio Studio Sound Department, for the application of compression to variable area recording in motion picture production. The application of this principle has resulted in a definite improvement in variable area sound recordings and has facilitated the use of this type of recording in the production of motion pictures.\n\nThe banquet was held in the Bilt-hotel.\nMore than 1,200 people, including men, women, a couple of lads, and lassies, attended the event at the hotel with the same name in Los Angeles on February 23. Close packing was necessary, and it was provided. It is unlikely that any function in the long record of movie history has been more attractive, appealing to the eye and mind, or spectacular than this one.\n\nShirley Topps\nOne of the lassies, Shirley Temple, was the top performer among those who entertained the large audience. Shirley Temple added to her prestige.\n\nNew Gadget for Aiding Cameramen\u2014 Ted Tetzlaff, A.S.C., photographer at Paramount on \"Man About Town,\" Jack Benny-Joan Bennett picture, demonstrates the microphone.\nHaskell Boggs designed the camera, his assistant looking on. The amplifier and tube box are on the opposite side. The attachment allows the photographer to speak to electricians and actors while focusing his camera. Power on the microphone automatically cuts off when the blimp is closed. It runs off direct current and can be installed for $75 complete.\n\nMary Pickford, with her remarkable reputation, was called upon to present an Oscar to Walt Disney. She stood on a settee to reach the microphone more easily, amusing her but not flustering her. In the large house, it was doubtful that anyone other than Charlie McCarthy could have been paired with the charming miss without being at a disadvantage. When Shirley finally presented the award.\ngained the required proximity to the mike. She looked out over the bowl and casually inquired, \"Will Mr. Disney please come up?\" The famed humorist-producer expressed his appreciation of the honor conferred. Shirley turned toward him and, with the manner of the perfect hostess, gave the assurance: \"And I am very happy to present it to you.\" As they returned to their respective tables, applause was the only response from the twelve hundred pairs of hands. It was a two-way honor, for the one who bestowed and for the one who received. Charlie McCarthy also contributed to the fun. It was while Edgar Bergen, A.S.C., was functioning as master of ceremonies that the acting chairman announced that honor had been bestowed upon a boy and a girl. The girl was Deanna Durbin, who very graciously and charmingly responded.\nCharlie insisted on making a speech for the honor bestowed upon the boy. It took some time before Bergen could get over the fact that it was Mickey Rooney receiving the award. Although Mickey was in the East, he sent a telegram. Charlie declared he had been framed.\n\nBette Davis, in briefly accepting her statuette, insisted that credit should go to Director Wyler, who had contributed so much to the making of \"Jezebel.\" Fay Bainter also uttered a few words into the microphone, but made them count.\n\nFar and away the most dramatic response came from Spencer Tracy, who in accepting the award for the best actor performance declared his own lesser claims for the distinction and emphasized the great claim for the honor that belonged to Father Flanagan. It was a moving moment \u2014 and a very still house.\n\nIt matched the thrill that accompanied the presentation.\nThe opening incident of the evening was accompanied by the singing of \"The Star Spangled Banner\" by Miliza Korjus, the woman who had contributed so much to the success of \"The Great Waltz.\" It was something to remember. (March, 1939, American Cinematographer 103)\n\nSteady progress is being recorded in the plans for the Tenth Annual Movie Party and International Amateur Film Show. Duncan MacD. Little, who has sponsored this yearly event since its beginning, is doing his utmost to assure his friends and supporters that the program for 1939 will exceed anything that may have gone before.\n\nUp to February 19, with the entries deadline of March 10 still three weeks away, there had been received offers of films to the number of twenty. Five foreign countries are represented in the offers.\nThree films have been offered from high schools. A cable dispatch was received from the Polski Towarzystwo Foto-graphique of Warsaw upon request for contributions, stating that a film was being immediately forwarded. In total, thirty-two letters, two telegrams, and a cable have been received. In addition to printed and mimeographed letters and one press release, sixty-two letters have been forwarded. Numerous telephone calls have been received.\n\nThe Movie Party for 1939 is on April 14 at the Barbizon-Plaza Theater in New York. The theater engagement is necessary due to the continually growing demand for accommodation by the increasing number of persons becoming interested in amateur motion pictures.\n\nNon-Profit Basis\nMr. and Mrs. Little have borne a major part of the effort and expense.\nConnected with the putting on of the shows in former years, we have decided this year to place tickets on a subscription basis. Having no wish to do otherwise than at least meet expenses and at the same time to guarantee the project shall be without profit, arrangements have been made to pay any surplus above expenses in full to the Peabody Home for Aged Women, in which New York charity Mrs. Little is much interested.\n\nThe request is made that films entered for the show be forwarded in time for them to be received on or before March 10, in order they may be examined by the appointed committee of experts. Following the selection of films designed to be shown on the program, arrangements will be made for musical accompaniments.\n\nInstructions to Contributors\n(Reprinted from the formal circular issued by Mr. Little)\nAll films must be received in New York not later than March 10, 1939. Films must be 16mm. and may be black and white, or color. Reduction prints from 35mm. originals will not be accepted. They may be silent or sound (on film, or scored with records). If scored with records, detailed cue sheets and, if possible, the appropriate records, should accompany the film.\n\nIt is requested that films approximate between 8 and 15 minutes of screen time. Exceptions to this will be made only for films which, in the estimation of the jury, are of such outstanding interest that others must be sacrificed that these can be screened.\n\nFilms should be addressed to Duncan MacD. Little, 33 West 67th Street, New York City. Carrying charges to New York must be prepaid.\n\nNo specific method of shipment is stipulated. Each shipper will use his own.\n\nOn the evening of February 25.\nMembers of the Hollywood Motion Picture Forum were given a treat in English documentaries. Several of them had never been shown in the United States before. The meeting was held in the Bell and Howell Auditorium at 716 North La Brea avenue. Mrs. Leo B. Hedges, vice president of the organization, chaired the evening, with Walter Evans, secretary, in charge of arrangements.\n\nAdded interest was given to the meeting by the showing of \"Moods of Nature,\" which won an award in the American Cinematographer\u2019s contest of 1935. This was responsible for the desertion by Paul Burnford of England, its photographer, from the amateur to the professional ranks.\n\nCoincidentally, Burnford was present at the meeting, who is visiting in Los Angeles at the present time. Shown also were:\nThree other subjects were present, all under the banner of Strand Films of London. The maker of \"Moods of Nature\" had been affiliated with this company for a long time in the capacity of director or photographer or both. Miss Marie Seton, film writer for the Manchester Guardian and one of the leaders in the English documentary film movement, was also present. Miss Seton, who was deeply involved in the brief tradition of documentaries, spoke most interestingly and informatively about the progress being made in England in the making of non-theatrical films.\n\nRegarding this, and the method of packing, generally registered parcel post would seem best. As in the past, arrangements had been made for adequate insurance on all films accepted for showing or for consideration. To be eligible for this insurance, the shipper must notify Mr.\nI will clean the text as requested, removing meaningless or unreadable content, modern editor additions, and correcting any OCR errors while maintaining the original content as much as possible.\n\nLittle intention to forward a film (or films) and receive confirmation in return. Insurance will cover \"all risks\" as commonly understood in New York insurance circles, and will apply from time of original shipping by the sender, until final receipt again by him. Valuation will be stated by the shipper, but not to exceed fifty cents per foot, 16mm.\n\nWhile in our custody, films will be handled by experienced projectionists only, and every care will be taken. However, neither Mr. Little nor his assistants can assume responsibility for unforeseen accidents.\n\nAll films will be returned by prepaid parcel post, within a reasonable time after the show.\n\nReally, though, judging from the three examples of English documentary production that were shown on the screen at the Bell & Howell auditorium, especially with the brilliant projection.\nThat which is provided for 16mm at this hall were not non-theatrical films. Rather, they were of abundant theater interest. They possessed the quality that would make them rate more highly in a theater of distinction than in a house lacking that particular standard. Here is the program outside of the 1935 contest subject already mentioned:\n\n\"The Statue Parade,\" Strand Films, London \u2014 Paul Burnford.\n\"Free to Roam,\" Strand Films \u2014 Paul Burnford.\n\"Cover to Cover,\" Strand Films \u2014 Paul Rotha.\n\"Street Car,\" Albert Bailey, USC.\n\"Mexican Arts and Crafts,\" ERPI classroom films \u2014 John Haessler.\n\nThe first named was founded on shots of the statues in London, many of them well within the knowledge of persons who never had been within thousands of miles of that great metropolis. The picture quality was excellent.\n\"Real Popular Interest in These Documentaries: \"Free to Roam\" was the story of the London Zoo, where animals of the prairie and jungle are given 500 acres in which to roam. \"Gunga Din\" won January's award for American Cinematographer Joseph H. August, A.S.C., for his photography on RKO-Radio's production. The close vote was overshadowed by the competition, \"Jesse James,\" being in Technicolor. The latter's photographers were George Barnes, A.S.C., and W. Howard Greene, A.S.C. For December, two Technicolor subjects were registered with the critics before a black and white film.\"\nA picture of \"Gunga Din\" appeared on the board. As \"Gunga Din\" is a black and white subject, it becomes newsworthy when it wins the critics' poll for photography over a color picture. Those who have seen the screened \"Gunga Din\" will agree with the critics that Joe August had something unusual in the way of \"stuff\" on his negative in that picture. It is not often that a theatergoer is compelled to remark after looking at the unrolling of a picture: \"Just a minute: this man has something here.\" This could have happened on \"Gunga Din.\" The casual theatergoer is so accustomed to looking at excellent photography, to having it served to him as a regular dish, that it is only the striking exposure and setting that make their presence known. That is how this reporter felt.\nWhen he examined the exterior shots of the Kipling tale, there were notable shots: outstanding shots, the kind that stand out, like a thumb that has been hit too often.\n\nJoe August does not use meters. This might be a good place to note that Joe August, A.S.C., while photographing Republic's \"Conquest of Men,\" was visited by Joan Fontaine and Richard Dix, fresh out of a scene in the picture, who congratulated him on his winning.\n\nJoe August is not against meters; he simply doesn't use them. This is becoming more noteworthy as the number of non-users is dwindling.\nReporter\u2019s  photographic  poll  for  January. \njust  don\u2019t  fit  into  my  plan  of  taking \npictures.  The  meters  I  lean  on  are  my \neyes.  When  I  first  started  in  this  busi\u00ac \nness  twenty-eight  years  ago  I  had  a  pre\u00ac \nceptor  I  then  thought  sort  of  tough: \ntough  because  he  was  insistent  on  my \nlearning  what  could  be  accomplished \nwith  a  pair  of  eyes  and  a  man  with  scant \npatience  for  any  devices  that  aimed  to \nmake  those  organs  secondary  to  any \nhuman  invention. \n\u201cThen  again  frequently  I  choose  to \nmake  an  exposure  that \u2014 well,  we  will \ncall  it  an  unorthodox  exposure,  one  aimed \nto  produce  a  certain  effect  that  may  be \ndesirable.  For  instance,  the  negative \nmight  be  overexposed  and  underdevel\u00ac \noped \u2014 or  the  procedure  might  be  re\u00ac \nversed. \n\u201cYes,  of  course,  and  especially  it  would \nbe  necessary  to  tip  the  laboratory  if  it \nso  happened  the  lab  were  one  in  which  a \ncameraman could take liberties these days. I recall the same preceptor of mine down at Inceville in the beginning. There was a device at that time designed to obtain for the cameraman something parallel to what a meter would provide today. I was told with considerable detail and even more emphasis just what fate would befall me if he ever found me fussing with one of those gadgets. Yes, it was known as the illumination system.\n\nAfter that interview, I began seriously to cultivate attention to my eyes with the object of learning as much as possible of what I could accumulate in the way of optical knowledge.\n\nInceville, 1911\n\nI went to work for Tom Ince at his plant in Inceville in August 1911. It happened that a reporter had been there.\nIn 1915, I recalled the Santa Monica location on that lot by the sea. Inquiry revealed that the present Sunset Drive emerges from the hills and drops down to the ocean marks the site of Bill Hart's dressing room. Things moved quickly in camera departments in those days. The young assistant had been on the job for just five months when he was promoted to first camera. Yes, it was different then.\n\nBill Hart arrived in Inceville around 1914. He was soon joined by August, who completed a picture in which Hart was working. August stayed for fifty-eight more \u2013 nearly the entire schedule of pictures bearing the name of Bill Hart. There were only three others afterwards: \"Tumbleweeds\" and \"Wild Bill Hickok.\" It will be of interest to men of the camera to know that August never carried a camera for Hart.\nIn the seven years he worked with Hart, a rarely used white sheet was present. Both Hart and Ince had unusually cordial relations in August. However, there was an exception in Ince's case on one occasion. This was when the young cameraman, known for being stubborn and pugnacious, got into a physical altercation with his boss.\n\nThe cameraman responded to a reporter's question, \"No, I wasn't fired, and nothing was said about that. Tom Ince was regular. We never had any more controversies of significance. But he did like to 'kid' me. And he did that plenty of times.\"\n\nI remember one time when he asked me if I thought I could change a horse into a cow on the screen. I told him I thought so. But I had to stay out of the shot.\nThe cameraman described how his fondness for doing tricks with a camera and film led him into the virgin field of miniatures, resulting in a few problematic moments. He wanted to portray a sinking boat. On the Inceville lot, not far above the salt water, was a lagoon of fresh water that had accumulated from a recent rain. To a toy boat, he tied a cord to its keel. He arranged the string so that at a certain point, he could pull on it and the boat would follow, sinking and submerging. Anxious to note how it would work on the screen, he took it to one of the Santa Monica theaters and asked the operator to splice the film on to the end of a short. It may be explained that\n\"At that time, 'dailies' or 'rushes' had not become popular. The film's August premiere gained all the attention, with the entire house focusing on it. The scene was utterly convincing until, just as the boat was sinking beneath the waters, a cow's enormous nose appeared on the opposite shore of the lake and, off to one side of the boat, the cow pushed into the water for a drink.\n\nOnly a small part of the audience saw the cow. The great majority focused on what was happening to the boat. August noticed it, however. Those who did saw it were not silent. They all screamed. It was a sad evening all around.\n\nAugust's Lighting Preferences\nFrom the beginning, August has been a disciple of low-key lighting. In the beginning, it was a matter of necessity \u2013 lamps were a luxury in a manner of speaking.\"\nOne of his great problems in the beginning was getting everything out of a lamp that might be in it. It had to be placed where its illuminating power would count the hardest.\n\n\"Many things have changed during the rise and development of the picture making industry,\" the cameraman remarked, \"but the basis of lighting seems to be about the same as it was in the beginning. Even with the present era of fast films, it remains practically unchanged. I have at home a still of a set exposed in 1913 which seems basically what we are using today.\"\n\nYounger cameramen may be interested in the number of lamps August had at his command during a part of the seven years or so in which he was shooting the Hart subjects. Fourteen was the average. In those days, his generator rarely was of more than 500 amperes capacity.\nIn the making of \"Gunga Din,\" there was a set measuring 600 by 1750 feet, which was lit with a generator having a capacity of 12,000 amperes. In the photographing of \"Man of Conquest,\" for which August is currently under contract with Republic, the camera crew were making rapid arrangements for taking another scene at the close of the day. One of the best and most popular Western character actors approached the cameraman, clearly very concerned.\n\n\"Listen, Joe, you're not going to put me into that picture at this time of day, are you?\"\n\nAssured that was not the intention, and that as a matter of fact there remained plenty of light, the actor replied: \"I can't believe it. I've worked in over a hundred and more of these pictures and I've seen crews pack up when there was still a lot of light left.\"\nAt the base of Mount Whitney in the High Sierras, RKO Radio prepares to film major battle scenes between British troops and bandit thugs for \"Gunga Din.\" I'm concerned that the lighting is sufficient. You assure me it will be. I'm telling you, if it's not, there will be a case of the best Scotch waiting for you at your home tomorrow night.\n\n\"Never mind the Scotch, but take a squint at the dailies tomorrow,\" suggested the cameraman.\n\nThe case of Scotch arrived at his home the following afternoon.\n\nIn \"Music for Madame,\" the Martini picture, the scene portrayed at the Hollywood Bowl with its 20,000 seating capacity was sufficiently illuminated for photographing with a generator of 1700 amperes.\nAugust expressed his appreciation for Frank Redman, A.S.C., and his work on \"Gunga Din.\" They had worked together for a couple of years. Burke, Clothier, Pyle, and Diskant were the operative cameramen, while Strumar, August Jr., Haddow, and Reinhold were their assistants. Alex Kahle was the stillman.\n\nAt the conclusion of the RKO production, the first semester at the University of Southern California's department of cinematography ended, finding a number of student productions either completed or nearing final stages of production. A 16mm. production depicting dancing classes in the department of physical education had been produced, with cooperation from that department, by Donald Duke, a cinematography major. The picture dealt with interpretative dancing, taking the subject from the beginning to the end.\nearly stages of exercise routine for beginners and finally presenting in color a final complete dance sequence. Duke\u2019s production, while completed, will not be presented publicly until March 1, when it is slated for formal presentation by the dance division of the physical education department. After that date, it is slated for later televising over the N.B.C New York City outlet.\n\nLee Carroll, an advanced camera student, has completed a 400-foot 16mm photoplay entitled \u201cSoapy\u2019s Bench.\u201d The picture is based on a famous O. Henry yarn concerning a tramp wanting to get pinched in order to have a warm bed and a full meal. All players were either students or actual police officers from the University Station, who cooperated in supplying realistic arrest scenes.\n\nBesides handling the production of \u201cSoapy\u2019s Bench,\u201d Lee Carroll has been working on August's intended project.\nA ranch near Denver owns thirty acres at an elevation of 8500 feet. He has approximately fifty cattle, but the trout are the real draw. Several years ago, he aimed to create the best trout hatchery. His success is evident with Rainbow trout that can measure impressively. What started as a hobby has become an investment.\n\nHowever, as he prepared to leave for the 8500-foot altitude in winter, he was approached by Republic to take a camera for \"Conquest of Men.\" He declined, preferring to fish instead.\n\nThey asked casually what would change his mind.\n\nWithout hesitation, he mentioned a figure that likely ended Republic's interest.\n\n\"That's quite all right,\" was their response.\nA hesitant answer followed. \"You're working,\" the cameraman suddenly realized. He wasn't going fishing at that time. Instead, he was engaged in independent research on the 16mm. negative-positive system. It's noteworthy that he had been successful in producing 16mm. prints declared superior in quality to anything obtainable through regular local laboratories for negative-positive work.\n\nBob Rogers, a graduate student, was in production on a 16mm. subject entitled \"NYA Activities at U.S.C.\" This picture would document in documentary style the variety of activities the university was able to carry on due to government aid to students through the National Youth Administration, a division of the Works Progress Administration.\n\nRogers' picture would depict the multitude of activities the university was able to undertake because of this government aid to students.\nStudents work on university projects that exceed the ordinary budget, providing aid to the university with funds received from NYA. Robert Duntley is finalizing an all-color 16mm production on the trucking industry, showcasing Pacific Freight Lines' system. The film follows a truck driver from hiring to being sent out on the road, part of the vast motor freight system. Duntley successfully weaves continuity through the numerous operations required to handle truck freight, from pickup at the shipper's door to delivery at the consignee's door in another city. The use of natural color is particularly effective in a series of beautiful exteriors of large red freight trucks.\nTraveling through city and town, over desert and mountains, in making the runs on their routes. Besides these productions, an organization sponsored by Dr. Boris V. Morkovin, known as Delta Kappa Alpha, has been contemplating for some time a 16mm. production relating to the tourist advantages of the Los Angeles area. However, this group has not yet evolved from the preparation stage. Dr. Morkovin also has been planning a 35mm. sound picture relating to the work of the deaf, but this also remains in the planning stages. It is not yet entirely clear how sound will be employed in the deaf mute's picture. The only 35mm. work of the semester has been a short subject entitled \"Oddities in the Law.\" The production is the work of this writer. The subject deals with unusual or outmoded laws still on the statute books. The picture itself.\nThe production is now mostly complete. Recording of a commentary, musical score, and sound effects will be finished by March 15. The picture was shot \"silent,\" and the completed production will closely follow the usual commentary-effects style of the novelty short subject. It runs eight minutes, the standard professional short subject length.\n\nThe second semester of the school year began on February 10, with staff offering courses in various motion picture production subjects. The best courses are held at night and taught by men working in the studios. Popular and practical courses for the second semester include sound recording, editing and cutting, cinema music, distribution and exhibition, and production and camera technique.\n\nAs of January 1, 1939, there were approximately 92,816 motion picture theaters.\n\nJACK V. WOOD, S.AC.\nThe number of theaters in 96 countries has increased to 89,416 compared to 89,097 theaters on January 1, 1938. This represents an increase of 3,319 theaters for the year. Wired theaters during 1938 increased by 3,895, with 62,895 wired as of January 1, compared to a total of 89,416 operating theaters. Europe accounts for 37,578 wired theaters as opposed to 59,187 with 34,819 wired and operating.\n\nFirst Semester at U.S.C.\nActive in Camera Work\n\n\"American Cinematographer\" 107\n\nTo Music\nBy William Stull, A.S.C.\n\nFour or five years ago, the then editor of this magazine asked me to delve into my record library to produce musical scores for local showings.\nThe winning films of the annual American Cinematographer International Amateur Movie Contest. I described those scores in an article as an experiment. At that time, the use of phonograph record scores for amateur films was something of a novelty. Since then, an increasing number of clubs and individuals have experimented with this type of presentation and found that it adds the final touch of completeness to a good picture. Many clubs, like the Los Angeles and New York 8mm Clubs, make it a point to provide musical accompaniments for all films shown at their meetings. In some cases, as in Duncan Little\u2019s celebrated \u201cMovie Parties,\u201d accompanying scores have become almost as important as the screen fare itself. What was once a rare novelty has become an accepted necessity. Therefore, in presenting my scores for:\nThe winners of the 1938 International Amateur Movie Contest. One explanation is necessary. Since the records were chosen from my own record library, which is fairly extensive, some scores may need modification due to imported discs or domestic ones that have been dropped from current catalogues. The following selections should serve as a guide for any club or individual wishing to score the prize films.\n\n\"Nation Builders\" All-British\nIn scoring James Sherlock's grand prize winner, \"Nation Builders,\" I discovered, more than half way through the task, that I had by accident turned out a score singularly appropriate to a film based on the history of an important member of the British Commonwealth of Nations.\nOne or perhaps two exceptions I had chosen were music composed, played, directed, and recorded by Englishmen; and even the exceptions were British renditions! The opening record was one of those exceptions: \u201cMors Et Vita \u2014 - \u2014 Judex,\u201d by Gounod, performed by Lawrance Collingwood and the New Symphony Orchestra on H.M.V. (British Victor) record No. \n\nThe double-exposed title \u201cTravail\u201d appears, and the music changes to \u201cElegy (Thoughts on Passing the Cenotaph),\u201d from Albert W. Ketelbey\u2019s \u201cCockney Suite,\u201d recorded by the composer and his orchestra on British Columbia No. \n\nAnother double-exposed title, \u201cGovernor Macquarrie, Roadbuilder,\u201d is the cue for the next music change, to another of Ketelbey\u2019s compositions, \u201cThe Ploughman Homeward Plods His Weary Way,\u201d from the suite \u201cThree Fanciful Etchings,\u201d recorded by the composer on British Columbia discs 9406 and 9407.\nBoth discs are played in succession. This is followed by Sir Arthur Sullivan\u2019s \u201cIn Memoriam,\u201d played by Dr. Malcolm Sargent and the New Symphony Orchestra on H.M.V. No. C-1992. Another title, referring to a garden party, is the cue for changing to Sir Edward Elgar\u2019s \u201cMinuet\u201d from the suite, \u201cBeau Brummel,\u201d recorded by the composer and the London Symphony Orchestra on Victor record No. 9472. For our British readers, this disc is also available in its original H.M.V. pressing, though I do not have its number. The flaming title \u201c1914,\u201d introducing the Great War sequence, is the cue to change to Elgar's \u201cPomp and Circumstance March, No. 2,\u201d played by the composer and the Royal Albert Hall Orchestra on Victor No. 9016. This is followed by another disc from Ketelbey\u2019s \u201cCockney Suite\u201d \u2014 '\u201cA State Procession (Buckingham Palace),\u201d played by the London Symphony Orchestra.\nComposer and orchestra on British Columbia No. 9860. This is followed by \u201cLe Reve Passee\u201d (Krier & Helmer), performed by William Stull at the turntables of the Los Angeles 8mm Club.\n\nLieutenant B. Walton O\u2019Donnell and the British Broadcasting Company\u2019s Wireless Military Band on American Columbia No. 50272-D, also available on the firm\u2019s British list.\n\nThe final record in the score should, for best effect, be well synchronized with the concluding action. If possible, a rehearsal should be held beforehand to check on projector speeds. In my own case, I found the best cue for the change was a shot of a city street traffic in which a big truck labeled \u201cOgden Bros.\u201d is prominently seen as the policeman holds up traffic.\n\nThis concluding record is Elgar\u2019s.\n\"Pomp and Circumstance March, No. 1,\" played by the composer and the Royal Albert Hall Orchestra on the reverse side of a disc previously played - Victor No. 9016. If projector and music are properly in step, this disc synchronizes almost perfectly with the cutting of the closing sequences of Sherlock's film, and provides a most appropriate climactic theme.\n\nFor Randolph Clardy's \"Vida Pacoima,\" the only logical choice must be Mexican folk-music. It so happens that in my own collection this music is best represented by organ recordings. This, in turn, has proved an advantage, for it keeps the accompaniment soft and pleasing, avoiding vocal interludes which are always bad in picture music, and at the same time works well with the church sequence which naturally demands quasi-liturgical organ music.\n\nThe opening selection is \"Las Cuatro\"\nMilpas - Mexico's most famous folk-tune, played by Sigmondo del Oro on Victor 46181. As we see the cross atop the village church reflected in a pool of rain-water, the music changes to Massenet's \"The Angelus,\" played by organist Lew White on Brunswick No. As we fade out on the church, put this record aside (it will be used again!) and play \"Uruapan Hermoso\" by Ignacio M. Valle, recorded by Sigmondo del Oro on Victor 46253.\n\nAs the picture fades in, the winners of the Home Movies division award for the 1938 contest of this magazine appear. The title of their film was \"Santa Visits Elaine.\" Here is Elaine with her mother and father, Mr. and Mrs. John E. Pohl of Cicero, III. The photograph was exposed by S. F. Warner, editor of News Flashes, publication of the Chicago Cinema Club, of which Mr. Pohl is a member.\nMembers of the American cinematographer's family would agree with the editor that this picture holds unusual significance as it represents a \"home\" movie - the home behind the movie. Elaine possesses a bank account book with the fifty-dollar prize duly entered.\n\nThe sequence in which the worshippers are seen coming from the church we repeat \"The Angelus.\" At the end of this sequence, indicated by shots of people going toward a cottage in a scene framed through the branches of a pepper tree, followed by a fade-out with an unusually long black-out where Clardy breaks the film into two reels when it is not mounted on his special 400-foot 8mm. reel, the music changes to Valle\u2019s \u201cAmor Sin Esparanza,\u201d recorded by organist Del Oro on Victor. This is played through and followed.\nTo avoid musical gaps between \"Viejo Amor\" by Del Oro on Victor 46428 and the final selection of \"Las Quatro Milpas,\" I suggest using Jesse Crawford's recording of \"Secreto Eternal\" by Jose Perches Enriquez on Victor 80110 in between. The final selection should begin at some later shots of cactus.\n\nFor \"Chicago, Vacation Center of the Nation,\" the dominant note is typical Chicago bustle, so the music must mostly reflect this. Some modern music is therefore indicated. The opening sequence, however, is idyllic, depicting dawn on Lake Michigan and the Chicago River.\n\nTherefore, modern music that bustles is required for the dominant note of \"Chicago, Vacation Center of the Nation.\" The opening sequence, which is idyllic, requires music that reflects dawn on Lake Michigan and the Chicago River.\nThe score \"Gymnopedie No. 1\" by Erik Satie, orchestrated by Debussy and performed by Serge Koussevitzky and the Boston Symphony Orchestra on Victor 7252 can be classified as musically modern. This recording is likely familiar to many, as it is on the reverse side of Part III of Victor's three-side recording of Ravel's \"Bolero.\"\n\nA new sequence is introduced by the title \"Chicago's Thousands of Workers,\" leading us to Rachmaninoff's \"Prelude in G Minor\" in a modernistic, almost jazzed arrangement by Jack Hylton and his Orchestra on H.M.V. No. C-1864.\n\nI have mentioned before that one of my pet taboos is breaking the continuity of a score by turning a disc over - a practice that always results in a musical hiatus of several seconds. In this instance, I was fortunate to avoid this.\nThe next disc to be played is Part I of Serge Prokofieff\u2019s \u201cClassical Symphony,\u201d played by Koussevitzky and the Boston Symphony on Victor 7196. This is followed by Part III on Victor 7197, and finally, with the title about the \u201cBuckingham Memorial Fountain\u201d as a cue, we change to Part II on the unplayed side of Victor 7196. Oddly enough, this misconstruction of the symphony is more filmically appropriate than the same symphony played in its proper order!\n\nThe recording of all the music and choral sequences for the New York World's Fair film was completed last week by RCA. A 55-piece orchestra under the direction of Andre Kostelanetz and a male chorus of forty voices made the recordings.\nDuring my recent visit to Brazil, I took the time and trouble to find out what was going on in the largest country in the Western Hemisphere as far as the motion picture business is concerned. In March 1939, I learned that Rio de Janeiro is the hub of the Brazilian motion picture industry, with two or three major film producing companies, headed at the present by Cinedia Studio.\n\nCinedia Studio is located on the outskirts of Rio, far enough away from the city's noise. Surrounded by four high walls and only one entrance, the studio is heavily guarded and accessible only with a pass from the city office. The entire production plant is within these walls, including studios and sound recording facilities.\nThe studios include rooms for actors, laboratories, dressing rooms, sound stages, and projection rooms. A visit is an experience. Actors are outside the studio door taking a break, while scenes for the next sequence are prepared inside.\n\n\"Black Diamonds\" was the film title on the sound stages during my visit. It was a story set in the Matto Grosso Country, in the wilds of Brazil. There was much fighting and furniture breaking.\n\nThe film featured American theatrical performers, Frank Mazzone and his troupe, known in American vaudeville. Opposite Mazzone was Gypsy Abbott, also well-known on Broadway but not in Brazil. It seemed strange they were making Portuguese dialogue films with American performers.\nLuis De Barros, a former colleague unable to speak Portuguese, served as the director and production manager for the film set. Barros resided in Hollywood for several months to acquire knowledge about the film industry and production techniques, which significantly influenced the production. The set showcased these techniques through lighting arrangements, camera set-ups, and even the Portuguese-translated \"camera, action, lights!\" and \"silencio, por favor!\" (Silence, please).\n\nThe solitary camera used was an old Mitchell model, its motor noise minimized by being well-boxed up. Due to the limited availability of a single camera and cameraman, it was necessary to change angles every five minutes, requiring actors to maintain delicate and sometimes dangerous positions until the cameraman set up the shot.\nThe camera was mounted on a special Brazil-made dolly. The tripod was a pneumatic air-compressed dentist chair. All scenes for a certain sequence were being shot before they broke up the furniture for the big fight scene. The film, after it was photographed, was rushed over to the Cinedia Laboratory on the grounds for development. The laboratory has a complete DeBrie printer unit and developing machinery.\n\nCinedia Produces Newsreel\n\nThe Cinedia outfit maintains a weekly newsreel of events. Some are exciting and some very dull. One reel I saw in the theater was similar to our American newsreel, with a spectacular fire, review of the navy, a section by President Vargas of Brazil, and a thrilling auto race to the top of a mountain.\n\nBrazilian films, no matter how weak, are assured a definite market by a distribution network.\ngovernment decree stating each theatre must run a percentage of its program to include a certain number of local made film reels. As a result, many so-called producers sprung up overnight.\n\nGypsy Abbott (left) and Frank Mazzone (right), American theatrical performers, in a love scene from the Brazilian film, \u201cBlack Diamonds.\u201d Directed by Brazil\u2019s ace director, Luis de Barros. The film was produced in the Cinedia Studios of Rio De Janeiro.\n\n[Image: Gypsy Abbott and Frank Mazzone in \"Black Diamonds\"]\n\nFixing Up Family Films\nBy Ormal Sprung Man\n\n[Image: Family Album title card saver]\n\nHere is a title card saver for your Family Album reel. A rectangle is cut out of the center and the name of the person and date of filming appear on a smaller strip which is raised or lowered behind the mask opening.\nMost popular among all amateur-exposed movie footage are family reels, ultra-candid close-ups of the young heir, \"gramps,\" and all the relatives. In most cases, the haphazard methods of filming families result in inconsistent editing or no editing at all. Consequently, audiences either become bored with disorganized screenings or are completely deprived of the pleasure of seeing footage that could easily be transformed into entertaining material.\n\nAssume your holiday films are still in their original shape, showing close-ups of colorfully packaged Christmas gifts, long shots of the Yule tree, and medium views of the family itself. In its present form, the footage may not be so bad since you took special pains to capture these moments.\nTo watch continuity as you filmed. But here and there are scenes slightly over or under exposed which should be eliminated, others which demand a change. So the splicing block is produced. If you don't own a movie frame viewer, a powerful reading glass will help to identify puzzling scenes.\n\nDescribe Contents\n\nLay out the reels for screening, designing the number of each reel at the top of a clean white sheet of typewriter paper. Devote one sheet to a description of the contents of each reel, which may run something like this:\n\nCU Unopened Christmas gifts under tree\nMS Grand-dad lighting pipe\nCU Food on table\nCUT Rapid panorama across ceiling\nLS Guests being seated at table\nMS Opening packages\nLS Yule tree\nCUT Underexposed shot of tree ornament\n\nCU - close-up\nMS - medium shot\nLS - long shot\nCUT means eliminate or throw out. Keep scene descriptions down to minimum wordage. Arrange pages in order for study and recreate mental image of continuity flow. Pencil numerical order of each scene in finished film. If changes are necessary, cross off or erase preceding numbers and set down new sequence. Make Editing Board. Bore a dozen or more two-inch holes in a pine slab and number each hole. As each sequence or scene is cut out of the original film, roll it up and place in corresponding hole on the editing board.\nThe footage and drop it in its hole. As the roll unloosens and spreads, it snuggles up firmly against the wall circumference. Equally good for footage holders are egg cartons, typewriter ribbon boxes, compact cases, and even nail hooks. If you don't care to tinker, you can buy inexpensive editing boards from your local camera dealer. One editing rack now being offered consists of sixteen such circular holes laid out neatly on a sloping board. Along the right hand side is a film record pad, and as each sequence is slipped into its numbered hole, its description is set down opposite that number on the printed list. Special footnotes or editing directions may be added at the bottom of each blank. While some amateurs may prefer splicing as they go, there are still others who like to tie up the cutout scenes temporarily by affixing Scotch tape to them.\nThe ends, and then do the splicing all at once after the titles have been prepared and photographed. Either procedure has merit. I, for one, prefer to splice as I edit. In this form, the final film is projectionable, and quite often I see possibilities for changing sequences or cutting out scenes while I am screening the footage for title work.\n\nSaves Duplication\nLikewise, some folks like to splice their short reels onto 400-footers before editing as an aid in projection. I still prefer to screen and edit the shorter stuff as it comes. It saves duplication of effort.\n\nAmong your own acquaintances, you probably know of amateurs who edit so broadly that they even leave in the perforated numbers at the beginning and close of reels in order not to waste footage.\n\nWhile not all scenes which misfit the sequence should be discarded.\nCurrent films with blurred, out-of-focus, and poorly exposed scenes should be discarded permanently. These scenes add nothing to the film and may even detract from the superior content. The only exception might be pot shots of relatives or close friends, which cannot be duplicated.\n\nFamily reels can be handled either personally or popularly, and your titles will depend on your treatment of the films.\n\nFirst, let's consider the personal slant. This follows the lines of least resistance, as no extensive title writing is needed. You can even use label titles if you prefer to loaf!\n\nSince one never knows at the outset how much family footage will finally accumulate, it is usually good practice to adopt a uniform title. The one which we might use could:\nThis new title-builder consists of a black cover stock, size 9 by 12 inches. A 214 by 5 inch rectangle is cut from the center with a sharp knife. The open frame is outlined in white.\n\nThe title-builder composes words and sentences by dialing each letter by hand. A suggested title is shown with a dime store character filmed against a threadbare towel.\n\nThe rear of the new title-builder shows three rows of 12 wheels, each of which operates a continuous ribbon on which b2 characters are printed.\n\nFor systematic editing, this rack has film strip holes for temporary storage during cutting. Descriptions of each scene are written on the film record pad at the right opposite proper hole number.\n\nLettering is done in white-on-black title cards for reversal filming. For wobbly printers, special lettering guides are provided.\nAnd tracing alpha bets are available. A not too elaborate scroll work and the words, \"Family Album Edition,\" are inscribed on a black cardboard slide, slipped into position behind the opening when the entire title card is set up for shooting. The use of the rectangular opening permits the printing of many title wordings on each side of the slide without the need for making additional masks.\n\nSpeeds Up Filming\nThis form of titling speeds up filming. Once the mask is properly framed on the title board, the rest is simple. With a one-inch camera lens, the title board on which the title card is thumbtacked is located two feet away, lit either by photofloods or direct sunlight outdoors.\n\nEven the title stand used in filming is strictly homemade. This consists of an elevated base on which the movie camera rests.\nA camera is mounted with a regulation drawing board approximately two feet in front of the lens. The board is held vertically using angle irons and bolts. Cards are mounted on the drawing board. The entire portable unit is made of 1/2-inch pine.\n\nIf you have difficulty centering title cards with your specific outfit, prepare a white card ruled uniformly with horizontal and vertical black lines. Place the card on your title board and photograph in the customary manner.\n\nWhen the film is developed, inspect a single frame under a powerful glass or project on a screen, count the number of lines revealed, and you will have the scope of your camera for title work.\n\nAnother favorite among careful amateurs is to place a midget, battery-connected flashlight bulb in the film gate behind the opened camera shutter.\nSketch the exact size of this dim beam projected on a white card at the closest focusing distance. For greater accuracy, insert a small piece of roughened celluloid between aperture and bulb for diffusion.\n\nHelps on Titles:\nIf reversal film is used, use white ink on a black background, but if positive film is employed, select black ink on a white background.\n\nEven 8mm fans will be glad to hear that double perforated 16mm positive film, center scored, is also available for their use in titling at a price much below the cost of reversal film.\n\nSuppose your arm has grown a bit too wobbly for legible lettering. One New York firm already has come to your rescue, offering complete sets of movie titling charts which enable any amateur to trace any size or shape letter pictured to give a homemade professional touch.\n\nThere are twelve complete artistically designed movie titling charts.\nThe world's greatest and best negative, EASTMAN PLUS X PANCHROMATIC, is the verdict of every cameraman who has used it - J. E. Brulatour, Inc. - DISTRIBUTORS - American Cinematographer\n\nImportant event in film history: the formal opening this month of Cinecolor's new Burbank plant. Covering 45,000 square feet of space, the ultra-modern, concrete reinforced structure was designed by architect Robert V. Derrah. New accuracy and flexibility are promised with the incorporation of advanced facilities and equipment in the new quarters.\nThe economy and speed recognized in Cinecolor's process are enhanced by its new facilities. Nearly as significant, Cinecolor can now produce film at a rate of two million feet per week. The cost of equipment exceeds $150,000, while the building cost is approximately $Cinecolor's technical department, under the capable direction of Alan Gundlefinger, includes a complete patent research division, technical library, research room, control room, optical rooms, and dark rooms. The film handling process has been streamlined to 100% efficiency with modern quarters for camera unloading, negative polishing, printing, inspection, positive cutting, waxing, optical printing, and shipping, as well as a special effects camera department and private cutting rooms.\nA complete machine shop is included. A single gigantic room, 14,000 square feet in size, is used for processing all types of color prints. This department will ultimately enable Cinecolor's output to be stepped up to between four and five million feet of film a week. The basement has been scientifically designed to accommodate the mixing of all chemicals for developing and processing. It contains 50 vats, ranging in capacity from 1000 to 20,000 gallons. The circulation in each of these vats is controlled by its own individual motor. All electrical wiring and pipes for water, gas, and the fire sprinkler system are present.\nThe DC sets are installed in a specially ventilated tunnel to prevent chemical fumes from affecting them. Release deadlines do not typically consider electrical power failures, so Cine-color constructed an auxiliary power plant in the basement for emergency use. In the event of power failure, the auxiliary plant will take over with a maximum current interruption of only ten seconds. The new vaults for film storage have been modeled after modern bank vaults and are protected by an undrillable steel door. Fire sprinkling systems and additional safety features ensure further protection of these vaults. Air conditioning equipment is necessary for the printing and handling of Cinecolor film due to its exacting requirements.\nThe huge building in Burbank, designed for regulating humidity and temperature with individual sectional control, has special air-conditioning equipment. Airplanes flying in the vicinity will be made aware of the new Cinecolor plant's location. The name \"Cinecolor,\" emblazoned in letters twenty feet high, is across the entire length of the roof. The plant lies directly in important commercial air lanes. After dark, the roof sign and the entire building will be illuminated by one of the powerful new mercury vapor lamps on a 30-foot pole. A useful and decorative part of its facilities is Cinecolor's main theater. Here, rushes and test prints are shown.\n\nThe Kains automatic agitator (tank not included with machine).\n\nAcross the entire length of the roof of the huge building, the name \u201cCinecolor\u201d is emblazoned in letters twenty feet high. The plant itself lies almost directly in important commercial air lanes. After dark, the roof sign and the entire building will be illuminated by one of the powerful new mercury vapor lamps situated on top of a 30-foot pole. A useful as well as decorative part of its facilities is Cinecolor\u2019s main theatre. Here rushes and test prints are shown.\n\nThe Kains automatic agitator \u2013 tank not included with machine.\nThe entire construction and installation of equipment has been carried out under the supervision of William Prynne, secretary of the company. A special study has been made of projection equipment to ensure the picture is consistent with standard theatre projection. The business staff of Cinecolor, headed by A.L. McCormick, president and treasurer, has been established in ten beautifully appointed executive offices. Among the other officers are Alan Gundlefinger, vice president in charge of research; W.T. Crespinel, vice president; and J. Henry Kruse, sales manager.\n\nMaurice Kains, gadgeteer, builds automatic agitator. Every photographer who develops his own film in a circular tank of the Watson or Leica type knows how seemingly interminable the developing time of 15 or 20 minutes becomes.\nEvery few seconds, his attention is required to jiggle or twist the tank to ensure proper agitation of the developer. This method of agitation is not always reliable. Maurice Kains, Local 659, IATSE, a well-known Hollywood inventor of gadgets for the photographic workroom, has solved this problem successfully. He is placing an electrically driven automatic agitator on the market. It consists essentially of a stainless steel turntable of just the correct diameter to hold a circular developing tank. This turntable is mounted at a slight angle upon a finely finished gumwood base. Within the base is the operating motor which uses either 50 or 60 cycle A.C. and turns the tank holding table at an approximate speed of 25 revolutions per minute. The tank and film reel rotate together, so the film is \"wound\" through the solution evenly.\ndeveloper.  As  the  turntable  is  designed \nto  operate  counterclockwise,  the  revolv\u00ac \ning  film  picks  up  the  developer  at  the \nouter  edge  of  the  reel  and  spirals  it  to- \nCinecolor  plant  photographed  from  air. \nward  the  center.  The  fluid,  because  of \nthe  off-level  angle  of  the  turntable,  gravi\u00ac \ntates  toward  the  lower  side,  where  it  is \nimmediately  picked  up  for  continued  cir\u00ac \nculation. \nThe  ribs  and  apertures  of  the  film  reel \nexert  a  mild  churning  action  to  the  de\u00ac \nveloper  as  it  circulates  through  the  tank, \nthus  assuring  the  operator  of  a  uniformly \ndeveloped  negative,  free  from  air  bell,  di\u00ac \nrectional  or  streaky  markings. \nNot  only  does  the  Kains  agitator  as\u00ac \nsure  a  clean  negative  but  it  allows  the \nphotographer  to  go  about  other  duties  in \nthe  workroom  during  the  time  of  devel\u00ac \nopment. \nRetail  price  of  the  agitator  is  $7.50. \nIt  may  be  obtained  through  any  of  the \nThe February meeting of the Oklahoma City Movie Club was held in the rooms of the Oklahoma City Chamber of Commerce on February 17. H.P. Douglas, a member, gave an interesting and helpful talk on \"Exposure.\" The talk was illustrated by a film showing the same shots exposed with and without the use of a photo-electric exposure meter. The Amateur Cinema League's films \"Art and Architecture\" and \"Peggy's Cove\" were screened, which were the first outside pictures the club had shown and consequently of great interest and help to those present. The club films were followed by the showing of two reels, \"Southern Wyoming\" and \"Jackson's Hole,\" from Charles Musson's 8mm Kodachrome \"Summer Tour.\" The next regular meeting will be March 17.\n\nCharles Musson, Secretary.\nMarch 1939, American Cinematographer 115\nFixing Up Family Films (Continued from Page 112)\n\ncurved alphabets covering some 1,600 type sizes, and all you do is trace out your words with a soft black pencil \u2014 inking later, if desired \u2014 and then shoot. One titling firm specializes in sponge rubber letters of different colors which may be affixed to various surfaces by means of an adhesive substance on the back.\n\nAnother sells a lettering guide which permits inked titles for use in Leaves of a photo album. The flicking of this Family Album main title gives an interesting effect. (See 16mm frame enlargement of actual scene photographed.)\n\nSmall cine titlers. In addition, there are metal letters, rubber-stamp letters, gummed letters, block letters, anagrams, alphabet soup letters \u2014 even type-set titles are possible with a font or two of modern legible faces.\nThe wording of a title plays a big part in shooting, with a trend moving away from old-fashioned typewritten titles towards more artistic forms of expression. Instead of straight candid scenes for each subtitle in popular handling, continuity is evolved by juggling the stuff around, perhaps shooting more fill-in footage. In a personal handling of Christmas scenes, one would record like a first-rate newsreeler. From the popular angle, one would go further, showing preparation of the meal, arrival of guests, passing out of food, etc.\ngifts, departure of guests, and finally the tired sprawl of host and hostess. Or you can build up continuity by handling the whole thing as a dream, showing all the Christmas scenes up to the departure of the guests for the fadeout.\n\nBesbee Products Corp., Trenton, N.J. (Spell-O-Tex)\nWood-Regan Instrument Co., Nutley, N.J. (Wrico Lettering Guide)\n\nFade in slowly on a dimly lit bed scene with the husband's hand shaking the wife's shoulder. As she wakes up, blinks, yawns, and stretches, she discovers that the whole thing's been only a dream, and she's still got all the Yule preparations yet to be made for her guests.\n\nFor scenario purposes, you can shoot the bed scenes at almost any time before or after the guest scenes have been made. If your camera is not equipped for fade-in or fade-out, you can secure remarkably good results simply by using editing techniques during post-production.\nWhen photographing, dim artificial illumination before the blackout or gradually turn away photoflood reflectors and cut the light while shooting. For a suitable fade-in, reverse this procedure. This practice is useful for title effects as well. Similar fades can be achieved by lowering the camera diaphragm to its lowest stop.\n\nWhen photographing people, ensure they are always occupied and not just gazing at the camera. Capture youngsters absorbed in their games or reading the Sunday funnies. Film relatives as another family member shows them around your garden during family reunions. A picnic idea is good for shooting, but avoid lining everyone up for the traditional stiff shirt scene. Instead, break the crowd up into smaller groups.\ngroups of two or three and concentrate filming. If they are camera conscious, use a three or four inch telephoto lens and shoot from behind a well-trimmed hedge or through an unseen window. Unposed, candid closeups are always more interesting for the family album. At the close of each year, re-edit all your family footage of preceding years.\n\nB&H Vice President\nHE Bell & Howell Company\nof Chicago announces the appointment of H. W. Remerscheid, western district manager, to the post of vice president, in charge of Western District.\n\nMr. Remerscheid became production manager of the manufacturing plant in Chicago in 1930 and was appointed assistant western district manager in 1932, which position he served until appointed western district manager.\n\nJ. H. McNabb, president of the Bell & Howell Company, arrived Saturday, February 18, to discuss.\nBusiness activities in Southern California. The text presents a look-back scenario, displaying current family members at home, flipping through the snapshot album. The camera pauses for over-the-shoulder shots, with fadeouts and fade-ins on action scenes taken a year or more ago, occasionally returning to capture new close-ups from the album of stills to maintain continuity. In fact, there are numerous possibilities for the unique handling of family footage that one wonders why more moviemakers, who often go to great lengths to produce striking travel scenarios, are hesitant to use their 16mm cameras for this purpose. This 16mm frame enlargement displays the actual view of the Family Album title with album pages thumbed to provide movement over the title face. Months into the \u201cFamily Album Parade of the Year,\u201d you might even introduce a full bag of tricks on the simplest shoot.\nThe February issue of the New Flashes, the official bulletin of the Chicago Cinema Club, marks its fifth year. On March 23, the club will celebrate its 500th meeting. The evening's feature will be \"See the West with the Nowells,\" a 70-minute scenic film on 8mm. scored with music. A club auction and souvenirs for members will follow. The Second Salon of Prints made by Cinema Club members will be conducted on March 9 and 10. March 2 will be dedicated to a business meeting.\n\n\"Sierra Nevada\" has world premiere in San Francisco\n\nAt the Gold Room of the Palace Hotel in San Francisco on the evening of Tuesday, February 28, Clifford Nelson presented the world premiere showing of \"Sierra Nevada, Grand Crescendo of the Mountains.\"\n[California. The subject is an unusual color and sound picture of a thrilling pack trip in the California High Sierras, featuring the John Muir trail, Yosemite to Mount Whitney. Admission was 55 cents.\n\n116 American Cinematographer \u2022 March, 1939\n\nPassing your screen test...with flying colors! How thrilling it is when your outdoor movies come out crisp and clear on the projection screen!\n\nOne way you can help make them crisper, clearer is to use Agfa\u2019s all-around outdoor film \u2014 16 mm. Fine-Grain Plenachrome Reversible.\n\n16 mm. Plenachrome combines high speed, wide latitude and a truly effective anti-halation coating. Its fineness of grain makes possible unusually large projections. It is fully sensitive to all colors except spectral red.\n\nGet a few rolls of Agfa 16 mm. Fine-Grain Plenachrome Reversible at your dealer\u2019s today. It is available]\nMade by Agfa Ansco Corporation in Binghamton, New York.\n\n100 foot rolls at $4.50, 50 foot rolls at $2.75, including processing and return postage.\n\nFather Meeus: Battling for the Youth of China\n\nFather Charles Meeus, a missionary of the Catholic Church, has been in the United States since last summer, lecturing and showing his color picture on \"The Youth of China\" and the large number of accompanying stills. It does not seem possible for anyone to listen to this young priest as he tells of the life of his charges, especially life as they find it during the past two years, without absorbing some of the enthusiasm he displays for Young China.\n\nIt is more than enthusiasm. It is a genuine affection for these youngsters, mingled with admiration and respect for the Chinese people and their traditions.\nIn his film, titled by Francis Nelson of Hollywood, are portrayed the enchantment of the China Seas, flowers, rivers, skies; the Chinese theater, gymnastics, architecture, fishermen, notably the boy who balances a coromandel on each end of a long pole, which fishermen use when lowered to the water and picked up again when filled.\n\nWe see Chiang Kai Shek and his equally famous wife, the bishop, sisters, schools, and pilgrimages. Paul Cheng leads the Youth of China. The lads put on their exercises, their lion dances (synthetic lions, if you please), proving they possess an abundance of humor. A China boy walks around a pond, his reflection in the water.\nReflection appearing in the water; there are other reflections in the water. A stone falls in the pond and is followed by images of bombing and what war has meant to China: children who have played their last game lying side by side.\n\nAs a finale, we see monuments and the Flag. The Boy Scouts in China is a great organization. What adds to its interest for Americans is the fact that entirely aside from the element of human sympathy that naturally flows to the young and, for that matter, to all the people of that stricken country, the Boy Scouts there are sponsored by that body in the United States.\n\nFather Meeus does not appeal to the American public for aid in feeding his Boy Scouts and rebuilding his mission by overstressing the fact that China is a suffering country. Rather, he aims to tell Americans how much their help means to the Boy Scouts and his mission.\nI will restore smiles to the Face of China in peace and war time. In a note to the editor of this magazine, Father Meeus concluded with these words: \"I hope the Japanese who read this and see the picture will have a greater understanding and love for those courageous boys. The Chinese and Japanese are GREAT photographers. Maybe photography will bring closer understanding between both peoples, because I do believe that through a lens and a viewfinder, we can really get to UNDERSTAND each other much better.\" Who will deny that the work Father Meeus is doing for the Youth of China is not also in the interest of the United States \u2013 a country which has always been on the side of an even break for the land which contains in its borders a quarter of the children of the world. \"Photographic Counselor\"\nFrederick Watson, appointed last spring to the unique post of \"photographic counselor\" to Thomas Cook & Son, provides free advice on what to take and how to take it to Cook's clients. This advice reached new heights with the round-the-world departure of the Franconia on January 7. Two passengers carrying 16mm cameras and 6000 feet of film sought Watson's advice before sailing. They arranged to send him two or three rolls of average exposed film from Rio de Janeiro via air mail for processing and review. He would then send them frank criticism, pro and con, via air mail to Cape Town to help secure the best possible results on the remainder of the world cruise. A similar service is also being performed by Watson, a pioneer in this field.\nOne man visiting South America arranges to send back all exposed film to various ports for processing and waiting, ready for him upon arrival from an eight-week trip. The other, bound for the eastern coast of Africa via San Francisco, Hawaii, Japan, Singapore, and the East Indies, will visit Mombasa, Nairobi, and the Belgian Congo, and pick up a steamer for home on the west coast of the \"winter sunshine\" continent. In his case, processing will be done in Tokyo, and the film shipped to New York. As a result, he will find his air mail letter of criticism at Nairobi before starting his pictorial trail across Africa.\n\nThe inauguration of the post of \"photographic counselor\" - unprecedented for\nAny travel agency was a result of Cook\u2019s conviction that the photographic record of a trip is a source of enjoyment second only to the trip itself. Mr. Watson's advisory service to clients covers every phase of photographic technique and equipment, still or movie, and is entirely complimentary, either by letter or by personal interview.\n\nFather Meeus with Camera\nYouth of China\nBy Father Charles Meeus\n\nThe very first time I ever used a motion picture camera, I blurred the picture by too fast panning. As a matter of fact, the panning was so fast that it ended with myself in the waters of the Yangtse-Kiang River, or Blue One, near Shanghai, China. I had gone to China in 1935 hoping to be able to synchronize my life with that of the Chinese people; hoping that...\n\nInput Text Cleaned:\n\nAny travel agency was a result of Cook\u2019s conviction that the photographic record of a trip is a source of enjoyment second only to the trip itself. Mr. Watson's advisory service to clients covers every phase of photographic technique and equipment, still or movie, and is entirely complimentary, either by letter or by personal interview.\n\nFather Meeus: Youth of China\nBy Father Charles Meeus\n\nThe very first time I ever used a motion picture camera, I blurred the picture by too fast panning. As a matter of fact, the panning was so fast that it ended with myself in the waters of the Yangtse-Kiang River, near Shanghai, China, in 1935. I had gone to China hoping to synchronize my life with that of the Chinese people.\nThrough the use of a fast lens and a wide angle one, as well as many filters, exposure meters, and other necessary factors for adaptation, I would be able to understand and connect with those wonderful people. This meant I would have to study the numerous \"sound effects\" of the Chinese language, control the exposure for what I wanted to teach, such as modern sports, games, and science, and learn about the interchangeability of my lenses and the different ways I would approach those from whom I wanted to learn about modern China.\n\nThe Buddhist monk would require many filters; my talk would have to be \"colored\"; the Mandarin would hear the message after I had adjusted to my poor knowledge of Chinese.\nI needed equipment to avoid \"parallax\" in my utterances of the noble Chinese language.\n\nDrops: Camera in River\n\nIntroduction to the background of my little picture, \u201cYouth of China,\u201d may seem a bit too prejudiced in favor of both the Chinese and motion picture ideals, but how could it be otherwise, as I have been doing nothing less than taking pictures of Chinese people in China or projecting them here in America for the past four years!\n\nThis brings us back to the point when I was telling you that I had panned so fast that there I was with my camera (still working) under the yellowish waters of the Blue River after my very first attempt in the big art of photography.\n\nWell, that swift dive in China\u2019s element brought me in close contact with those dear people and allows me today to produce a picture that speaks for China.\nI was born, raised, and studied in Belgium, where I determined to plan my life with the goal of converting or influencing as many people as possible. In 1933, I found myself on a train in Belgium. I fell into conversation with an exemplary Chinese man, an elderly, benevolent and gentle individual with the bearing of one who spoke with authority. I could not resist the desire to convert him, and to my unexpected surprise, I discovered that my companion was none other than Bishop Tsu, the head of the mission I was to join two years later. I, who had thought to be the converter, became the converted in China.\nThe location of this mission is Adam's Apple Island, situated in the mouth of the Blue River. Father Meeus was awarded the Scout Service Badge by Paul Cheng, Boy Scout leader, for using his camera during bombardment. It is true some of the time the camera was without film, an expedient employed by the priest in order to sustain morale under desperate circumstances. That is where my people live: I mean it when I say \u201cmy people\u201d: having become a Chinese Citizen. (That was NOT changing my camera but using \"China-Chrome,\" as I call my adaptation to the Chinese.)\n\nSailing on the Blue River: Gorgeous composition . . . color . . . . angles of big sails that look like batwings . . . everything in China has an unusual angle:\n\nThe shape of the roofs, the shape of the wheelbarrow on which people actually ride.\nSitting to travel for long distances and the unusual shape of Model T Ford cars. What about the color of China's buildings? They are blue, yellow, green, gold all over: the tiles themselves are green or yellow and green; skies are also blue. Modern China is something \"photogenic\" as they say in Europe: rich lines providing marvelous angles in photography.\n\nHow did I come to take my next picture after my camera fell in the Yangtse-Kiang? First, I had it cleaned by a Chinese silversmith in the country. I'll always remember his face: wrinkles all over, spectacles (Chinese ones), and his thin, delicate hands. But I also always remember what I found on his table: about 100 odd little bits of steel and glass.\n\nMy Bell and Howell Camera, 16 mm.\n1. March 1939, American Cinematographer 119\n1. Temple of Heaven, Peiping. Taken 4 p.m., Rolleiflex. Exposure: f/16.\n2. Adam's Apple Island. Taken 2 p.m. Same factors.\n3. Temple of Heaven, Peiping. Blurred background; sharp foreground image of a pillar displaying the five claws of the dragon, symbol of the emperor who built this temple. Following Chinese tradition of foregrounds in art.\n4. Amateur cinematographer. Janlad's exposure meter (!) Too expensive, but he tries with his fingers.\n5. Symphony under the clouds: of the country who one day will look to Father Meeus.\n6 - Father Meeus using his Bell & Howell camera with lens polished by a silversmith using teakwood.\n7 - Chinese boys acting for a 400-foot comedy, aiming to outdo Hollywood.\n8 - Sedan passing a bridge. 2 p.m., September, f/16, 1/50. (Note: Picture was taken from my own sedan. Note that being carried by four men caused it to shake badly, yet I wanted speed to get some good color. f/1/50. It worked.)\n9 - Children of the China Seas.\n10 - Slingshots. December, 3 p.m., f/8, 1/25. Shows myself \u201cChina-chromed,\" and was taken by one of my boys.\n11 - The Sage of the River.\n12 - The Glamour of my boys. Little Miss China; September, 3 p.m., model Filmo 70 A! He had actually taken everything to pieces .  .  and was considering the next step to take!\nThe next steps were slow and delicate as he wanted to understand the \"Wei-she-ma\"; the reason for Chicago artisans' plans. I didn't see all this, having fled, praying no flood, famine, locust, or war would distract his attention or memory from his task of \"splicing\" this thing together on his thin old shoulders and . . . brains.\n\nThe next morning, he was there with a good-looking camera . . . that worked, thanks to Tien-Chu . . . Thanks be to God . . . and is still working today, improved.\n\nImproved? Yes, and how: He had passed the whole night polishing the lens of my Filmo 70A.\nBetween two pieces of teakwood, having discovered I could improve them. And then my first pictures: A group of children, their sweet and laughing faces. No, their swiftly running away slippers and their little Chinese robes whisking behind a wall. Frightened little beggars they had become. This machine was going to steal their personality, their very soul. No, no, never!\n\nAnd that night they didn't sleep, nor did I: I was making a fake basket filled with candy. A very intricate business: through a gap in the side of the candy basket, the lens was peering in. Upon the eager faces of the boys, who, as boys are all over the world, love candy. Those pictures were even better than the terrified-little-robes-that-whisked-behind-a-wall. I still have those smiles and keep them.\nI have educated by boys, twelve of them, appointed as my preceptors by Bishop Tsu. They taught me to speak Chinese and English, use chopsticks, and avoid parallax in my adopted language. These boys are now great actors, whom I have followed for three years in their games, studies, and Boy Scout life. I want to tell you about the glamour of my Chinese people. They have seen many \"Yin- Chi\" or motion picture shows in the big modern and crowded theaters of Shanghai, Canton, Hankow, Nanking, and Peiping.\nI have seen the old \"Ta-Ta\" (or woman who lives in the big city) telling her cousin from the country about Loretta Young. She was a woman as emancipated as a gentleman, a rare thing in China of olden days, along with Tyrone Power and Spencer Tracy, Allan Mowbray, who is \"so funny\" because he always \"behaves\" in front of his masters (the Chinese servant is very informal, being one of the family); all those whom they look upon as heroes today.\n\nI have seen them (those from the countryside, the interior) grabbing in the air for the \"substance\" as they will call it (\"Yeng-Ti\") of the dollar bills that the silly lady of the comedies, such as college pictures, throws around with an Oxford accent to the jolly-good crowd.\n\nI have seen my people scandalized at seeing people not afraid to \"kiss\" each other.\nI have also seen them really excited at the thought that one day in China, a picture will be made of the \"Chinese-Wells Fargo\" because China also has its great West and unknown distances. I have seen them laughing out loud as they watched American mice, cows, cats, geese, and grasshoppers that were actually trained by those amazing people of \"A-Mei-Li-Ka\" to talk and sing and even wear clothes: Disney's cartoons.\n\nBut, and never will I let anyone believe that the majority of my Chinese people are so simple; the student, the merchant, the businessman, the educator, will look upon moving pictures as a great factor of progress and propaganda of sane ideals, of methods for getting the people united in China. Twenty-five moving pictures.\nCompanies in China were started and are still going. One of them went \"broke\" because it tried to bring Old China back to the people. China loves her traditions but wants to be a NEW China.\n\nIn School's Place\nGeneral and Madame Chiang Kai-Shek want their people to be educated and are very willing to start pictures (16 mm. and 35 mm.) that will take the place of destroyed schools for mass education. These pictures will teach objects ranging from how to cook your meals to the obedience of the principles of Confucius and the spreading of a sane Christianity.\n\nI left China in July 1938. I had taken many pictures, but many of them with an EMPTY camera. Was there a better way of getting my boys to do things when in the midst of a bombing they would have worked?\nThey were desperate, my Boy Scouts, when they saw the pile of debris redestructured by another bomb. They would cry and sit down, desperate, but there was Father \"Plum-blossom\" (that's me in China) taking pictures. People all over the world would see those pictures. Bell and Howell went to work (with the \"polished lens\") to take pictures of how they were going to act in front of those great odds.\n\nThe camera was empty. Full of hopes was I, that they would not discover the trick too soon. But I managed to get over 800 feet of Kodachrome in full bombardment in Canton of their wonderful work.\n\nI have to admit that a Cine-Kodak-Magazine came very much to the rescue. It is totally impossible to load a camera in such conditions.\nera in a bombardment with a spool... whilst a magazine is as handy as a machine-gun-belt and shoot, shoot, shoot, goes the little camera. Scenes of War... and Peace I shot\u2014and shot pictures of mostly everything a bombing means: death, wounds, planes roaring down... and also I shot some marvelous scenes of BEAUTIFUL, PEACEFUL CHINA. That is the background of that suffering country: Nature in its most wonderful moods lavishes every tint of its palette on the China seas... you have seen those great big white clouds that look like \u201cdragons\u201d (\u201cLong-Young\u201d) against the horizon... the peaceful fishermen... And one day, KNOWING THAT MY BOY SCOUTS, FOR EVERY GOOD DEED THEY DO: NEED A GOOD FEED, I left them and came to this country to show their work and get support. I came to Hollywood to edit and cut.\nI don't know how it worked out, but after showing the picture to a thousand and one groups that reacted differently, I spliced and spliced till I came to a result that really is something. It is rather interesting to note that when I arrived in America, due to the fact that the Chinese dollar had fallen to a rather low exchange, I was practically reduced to nothing on my bank account. The first thing I did was pawn my camera (the one that had been taken to pieces by the old Chinese silversmith who had taken all these shots) and with that money, I started building up with my own unassisted work the picture that I am presenting to the public today.\n\nMeets Dr. Freebairn.\nMy first contact with Hollywood was through a dentist, Dr. Freebairn, of the Los Angeles Cinema Club, whom I had not known before. When I told him in the chair of his office that I had seen his name in Canton in a magazine, he was really very thrilled about it. I then went from one place to another until I finally decided to make sound on my picture and then I sought Francis Nelson, who provided me with a marvelous instrument.\n\nFrom the Women's Club on to the school, there is a vast field of audiences: homes, auditoriums, open-air backyards, . . . even \u201cdowntown\u201d cement rooms, . . . tiny little parlors and strange angles in homes.\n\nI faced people of all creeds, of all languages, and so I had to be able to give my message through the projection of the film.\n\nA sound track would have been too expensive, so a couple of records were played instead.\nI have made the text clear by removing unnecessary line breaks and meaningless content. Here is the cleaned text:\n\nOn this instrument accompanied by my own voice made it all very clear. I have given the picture to many persons in different audiences ranging from 2 to 200 and even 900, and every time it came out fine. One reason why people perhaps like my picture is because it is an amateur picture, but it has superb color shots.\n\nBUREAU OF MINES GOES STRONG ON FILM MAKING\n\nThe United States Government is not in the motion picture business, but it is not overlooking any bets. A number of the departments are aware of the value of motion pictures and use them to good advantage.\n\nThe main object for government films is that of education and information. A number of bureaus within the departments have their own motion picture units, where they take care of production and distribution, and one of these is the motion picture unit in\nThe Bureau of Mines in the Department of the Interior has functioned for over twenty years, creating films of various products being manufactured, mined, or refined. The subject matter of its films covers numerous topics, and there are specialists in each field who approve the details to be included. All specialists are personnel from the Bureau of Mines, ensuring authenticity and correctness. The motion picture unit has its headquarters in Washington and distributes from Pittsburgh, Penn., where there are currently about 3399 reels of film in stock, constantly being shipped to points worldwide. The amount is not sufficient to fill all requests on appointed dates.\nSome films are booked up to six months in advance. A person making a request for a certain film may be informed that their request will be filled sometime six months hence. In 1938, there were 9,500,000 persons who attended 94,369 showings. There were 1,260 reels of film added to the stock during the same year, and approximately $110,000 was appropriated by business and industry to Photo Finish.\n\nWhen W.C. Fields walked onto the set of Universal\u2019s \u201cYou Can\u2019t Cheat an Honest Man\u201d that morning, Charlie McCarthy, as had become his habit, was lying in wait for him.\n\n\u201cMr. Fields, I heard you rode one of the horses at Santa Anita yesterday,\u201d was Charlie\u2019s greeting.\n\n\u201cAs a matter of fact, I did, Charles, my diminutive little friend,\u201d Fields replied.\n\n\u201cWhat a jockey! What a jockey!\u201d\nMcCarthy exclaimed, \"I suppose, to hear you tell it, you won by a mile.\"\n\n\"No, Charles, I am not given to tarradiddle, my little chum, I won by a nose,\" Fields replied.\n\n\"Oh, just a length and a half,\" Charlie laughed.\n\n\"Very funny, very funny,\" Fields retorted. \"Go away or I'll carve my initials in your spine.\"\n\nShe was 100 years old. She had seen two emperors live and die; saw the revolution in 1911; now had three sons in the war, while twenty-four descendants were in the hoy and girl scouts.\n\nThis enabled the Bureau of Mines to carry on the production of new pictures and the revision of old ones that might have become obsolete. Business or industry that makes great strides in technicalities must have pictures that are up-to-date. Therefore, the Bureau of Mines is kept busy revising old pictures on certain subjects such as oil, potash, sulphur, and many other such commodities and minerals.\nNew theories and practices, new methods and machinery, new uses and procedures must all be brought up to date in the motion pictures of the Bureau of Mines. It seems reasonable to believe that here is a potential market that could be utilized by many who wish to tell a story to a select audience. The majority of the pictures are produced in silent form and are all supervised by the Bureau to ensure uniform quality and standard. Advertising is not permitted, and any names of organizations are deleted or kept out of the pictures. The pictures must be strictly educational or informative. In most cases, even credit titles are left off, and only in very rare cases do the director, cinematographer, and other technicians receive recognition. A saving in the cost of reproducing copies of records and of storage space.\nwill be affected by new microphotographic recording equipment just installed by the Commonwealth Statistician at Canberra, Australia, according to a report to the Department of Commerce from the office of the American Commercial Attache at Sydney.\n\nMarch 1939 \u2022 American Cinematographer 123\n\nTHREE NEW STARS\n\nEastman's new motion picture negative films . . . general-purpose Plus-X, high-speed Super-XX, ultra-fine-grain Bickground-X . . . add highly dependable performance to extraordinary special abilities. Their instant acceptance and constantly wider use by the industry mark them as today's outstanding raw-film stars.\n\nEastman Kodak Company, Rochester, N.Y. (J.E. Brulatour, Inc., Distributors, Fort Lee, Chicago, Hollywood.)\n\nEASTMAN Plus-X . . . Super-XX ... Buchfjround-X\n\nMarch 1939 \u2022 American Cinematographer 124\n\nCUTTING\nPARALLAX\nWORRIES\nIN HAND CAMERAS\nAmong the fundamental problems with using telephoto lenses, particularly under field conditions, are focus and parallax. When Cinematographer Joseph Yolo of Yakima, WA, was commissioned as the official cinematographer for the Alaska Fish and Game Commission and the Alaskan Forest Service, he knew he would encounter these issues under particularly challenging conditions. He was to make a motion picture record of Alaskan wildlife, which required a hand-held camera rather than a studio camera. At times, all equipment would have to be packed for days into the wilderness, and he needed to be ready to bring his camera into action at all times. Extreme telephoto lenses were therefore necessary. So Yolo built himself an automatic range finding, parallax correcting finder for his Eyemo.\n\nThe commercially available foundation for this solution was:\nThe materials for this finder consisted of an ordinary Leitz range finder and one of the extension finder tubes made for use with the Eyemo. The rest of the device was assembled from sheet brass in one week's time, before sailing for the Northland.\n\nRemoving the rear eyepiece from the finder, Yolo fitted in its place the ocular end of the Leica range finder. Around this assembly, he built a roughly oval housing of soldered brass, from which the other end of the range finder projects upward periscope-wise.\n\nA brass plate was soldered to the calibrated operating disk of the range finder and cut away so that the calibrations remained visible. A wire rod extended downward to a lever which in turn was fixed to the rear end of a shaft.\n\nYolo removed the rear eyepiece from the finder and replaced it with the ocular end of the Leica range finder. He built an oval housing of soldered brass around the assembly, with the other end of the range finder projecting upward. A brass plate was soldered to the calibrated operating disk of the range finder and cut away to reveal the calibrations. A wire rod connected the lever at the rear end of the shaft to the assembly.\nThe horizontal rod extended forward, carrying all connections under tension with small coil springs. The horizontal pressure on the vertical lever turned the disk of the range finder, activating its mechanism. Yolo's greatest problem was with his twelve-inch telephoto lens, which he decided to coordinate with the range finder. This lens was mounted with a slipjoint focusing mount, where focusing was done by moving the lens straight in and out instead of turning it. To operate it, Yolo added a simple rack-and-pinion mechanism, allowing him to turn a knob and move the lens in and out. At the rear end of the rack, he fixed the lens in place.\nA triangular shaped cam. This, as the lens moved in and out in focusing, bore against the lever connected to the rangefinder, operating it. Repeated trials determined the curvature of the cam. When this curvature was finally reached, the focusing of the lens and the action of the rangefinder coordinated for all focal settings. It was therefore possible to rack the lens in and out until the double images in the rangefinder came together. Then, as in a miniature camera, the lens was correctly focused.\n\nHowever, this still left the problem of parallax. In studio cameras, this is met by pivoting the finder; but the construction of the Eyemo made this method impractical. Therefore, Yolo carried the extended finder's tube as far forward of the camera as possible. At the far end of the tube, he fitted a metal attachment.\nMatte matches the field of the lens. This matte is free to move from side to side. He then extended a second shaft forward to the front of the finder from the range finder mechanism in the rear. A small lever at the end of this shaft moved the finder matte from side to side as the focus was changed. This action was coordinated to give a finder image matched to the lens field at each distance. The device thus serves a triple purpose. Through a single eyepiece, Yolo can focus his lens with the range finder and, at the same time, view the exact field covered by his lens, corrected to compensate for finder parallax. With the exception of the range finder and the rear eyepiece, the finder is a simple tubular finder, no lenses being employed. It gives a brilliant image. (American Cinematographer, March 1939)\nWhen the Caribou and Kodiak bears allow Yolo sufficient time, he plans to coordinate this finder with all of his other lenses. At present, however, he uses simpler, yet equally ingenious finder arrangements for these objectives.\n\nIn field work, the rotating, multiple finder mattes of the camera are inconvenient. They provide a rather small image when long focus lenses are used, and when working quickly, one is likely to swing a different lens into place with the turret but forget to change the finder matte.\n\nTherefore, Yolo incorporated special finder mattes with the filter holders he has mounted on his lenses. These holders are of simple brass construction, designed for two-inch-square glass filters. Projecting from the appropriate side.\nThe filter holder's matte is a metal one, accurately cut to match the lens angle. When any lens is swung into shooting position, its matched finder matte is automatically brought into place before the finder at the same time. Carrying professional cinematographic equipment, even an outfit as portable as an Eyemo on long pack trips is a considerable problem. Conventional carrying cases are not adequate. Where one must be prepared at any minute to get into action in a matter of seconds, to bag a bear or a wary mountain ram, there is little time to fish a camera from a civilized carrying case and assemble it. To solve this difficulty, Yolo had a special backpack camera pack made. A padded wooden frame forms the foundation.\nThe camera, carried on a Bell & Howell sliding base or alignment gauge, fits neatly into a supporting cradle in the center of the pack. The left image shows Yolo using his interlocked range-finder on his Eyemo. Note the camera on the lens-mount and operating lever bearing against it, also sliding matte in finder tube. The center image shows the finder-housing opened to display how a standard Leica range-finder is fitted. The right image shows the Cooke 12V2-inch lens, demonstrating how Yolo fitted rack and pinion for focusing and cam to synchronize range-finder.\n\nThe camera is securely in place, but can be lifted out by a single motion without the need for releasing straps or catches.\n\nAround the camera are pockets equipped with zippers, designed to hold lenses and other accessories. Beneath is a sacklike space large enough to hold a supply of spare film and the equally necessary equipment.\nSpare clothing and toilet articles. The 35mm. frame enlargement from a hair-trigger action scene made by Yolo with the twelve-inch telephoto lens and finder setup. When he sent us this shot, Yolo described the filming of this entirely wild Alaskan Grizzly briefly as, \u201cThe old fellow thought he heard or saw something; but soon was back on the job fishing.\u201d Much virtue and importantly, the guarantee of personal security in a tele-lens.\n\nWaterproof canvas sides of the pack close over this with a zipper and a waterproof top folds over from the top, being fastened with ordinary spring fasteners. Webbed canvas straps slip over the wearer's shoulders to hold the pack firmly in place on the back. Even fully loaded, the pack is surprisingly comfortable and well balanced. While it probably weighs rather more than the camera outfit.\nIn ordinary cases, the unloaded fit feels much lighter than the loaded cases when carried for any distance in the hands. Yolo reports that the camera can be brought into action much more rapidly; he has at times set up and operated his camera within 20 seconds from the time he saw the distant animal he wished to photograph.\n\nIt may be mentioned that Yolo states most Alaskan animals do not appear to notice the noise made by the camera while it is running. However, they notice the click it makes in starting and stopping, even when they are thirty or forty yards distant from the camera.\n\nTo overcome this difficulty, he had a special knob made, fitted to a shaft which fits onto the hand crank shaft of the camera. Using this knob as a brake, he can start and stop the camera quietly.\nA large group attended the January meeting of La Casa Moviemakers of Alhambra. The evening was devoted to the showing of films made by the members. The following presented films: Mr. Phillips, Pomona Fair; Mr. Powell, Death Valley; Mr. Korns, Oakland and San Francisco Bay Bridges; Miss Turnbull, Norway and Sweden; Mr. Stiveson, Marching Girl Teams of the American Legion. Many of these were in color and showed real talent. An uncut film contest was announced for April, when several fine prizes are to be given to the winners. Present were seventy-six members and guests.\n\nR.A. Battles, Publicity Chairman. - William Stull, A.S.C., Every serious amateur or semi-professional filmmaker. (American Cinematographer, Walker Build, 126)\nA user of 16mm. or 8mm. cameras has at some point desired a way to move the camera swiftly forward or narrow the lens-angle for a quick transition from longshot to close-up, without the abruptness of a direct cut.\n\nThe studio professional has a wide range of specially built \"dollies\" and booms at his disposal for such shots. In addition, he can employ any one of several types of \"zoom\" lenses, which achieve the desired result by narrowing the lens-angle.\n\nBut these are generally out of reach for the substandard filmmaker. Only a rare few satisfactory \"dollies\" for 16mm. use exist\u2014none of them commercially available. And while one European firm has produced a miniature \"zoom\" lens for 16mm. cameras, none of them, as far as is known, has appeared in this country yet.\nThe twin disadvantages of price and size make a lens for the left side, long shot position (wide angle, short focus) and left side, closeup position (narrow angle, long focus) unlikely for general use. To be satisfactory, such a lens must be small, simple, and inexpensive.\n\nDuring the past year, Joseph Walker, A.S.C., whose hobby is collecting, building, and rebuilding lenses, has developed a zoom lens for 16mm use which meets all these requirements. It is small - the one tested by the writer fitted conveniently on the small Model 75 Filmo camera, and could conveniently be carried in a coat pocket.\n\nIt is, even in its rather crude experimental state, quite satisfactorily simple. It should be inexpensive enough, since its optical construction is based on standard units, and its mechanical construction is simple.\nThe construction utilizes no special parts. Its efficiency is best attested by the fact that Walker has used the same design (which, by the way, is patented) in making a similar lens for 35mm use, and has employed this objective where necessary in several productions he has photographed at the Columbia Studio. To be strictly accurate, the device should perhaps be called a semi-zoom lens, as instead of making a continuous zoom from longshot to closeup angle, there is a fairly quick transition. On the screen, the effect is that the former shot suddenly goes out of focus, and immediately the picture refocuses on the closer angle. This is accomplished very simply. The longshot angle is provided by a standard lens of relatively great focal length, behind which is a supplementary lens which serves to shorten the effective focus of the combination.\nWhen the zoom is made, the supplementary lens is pivoted out of the way, while the main lens is quickly racked forward to its correct normal focal setting. These apparently complicated motions are made during filming with 16mm Kinematography. The American Cinematographer, Hollywood, Calif., USA.\n\nDear Sirs,\n\nI am forwarding my subscription and tempted to make a retrospect of the past year. Despite the troubles that have beset the world, the 16mm side of Kinematography has progressed. This can be attributed to two definite causes: first, manufacturers have realized that the \"toy\" stage has passed, and it is necessary to place on the market a prototype of the larger edition, equal in quality, performance, and lasting powers.\nThe Amateur, who is the primary consumer (this can be equally applied to the professional requirements of sub-standard), has created this demand by insisting on an article that, despite certain limitations, at least puts up a good performance. Film societies in this country have made great progress and are producing some more than creditable results, even though they are restricted by finance and equipment. We thank our American cousins for a considerable amount of initiative, as expressed in your valuable organ.\n\nJ. P. J. Chapman, A.R.P.S., F.R.S.A.\n\nThis effect can be achieved very simply by a standard rack-and-pinion movement, such as is common in projection lenses, coupled to a simple assembly of two stock gears! In the tests made by the writer, the lens, in both long and short focus positions, gave critically sharp results.\nThe present experimental model's speed exhibits a very slight difference with and without the supplementary lens. In practice, this difference is negligible, especially when using reversal type film processed with automatic photoelectric balancing control. Focusing is essentially simple. With the tested lens, which is a crude working model used mainly for experimentation by Walker, focusing was done visually.\n\nEven with this experimental lens, focusing was not difficult. The long shot setting was first determined. Then, the lens was shifted to the close-up angle, and the focus was corrected for this point by an adjustment governing the lens's forward movement.\n\nThereafter, all that was necessary was to start the camera: when you wanted to take a picture.\nTo zoom, you simply turned a knob \u2014 and the zoom was made. Turning the knob the other way reversed the effect. It is entirely feasible, according to Walker, to provide focus calibrations comparable to those on ordinary lenses. However, separate settings would probably have to be made for the two extreme positions or angles (i.e., longshot and close-up). The zoom operating knob could with equal facility be replaced or supplemented with a lever, which would make the operation more speedy. Even with the present somewhat crude model, I have zoomed in from three to six inches of 16mm film. Whether or not this lens will be manufactured commercially has not yet been determined. From this writer\u2019s own experience with the device, it should be, for it can fill a long-felt want in substandard cinematography.\n\nTasker appoints SMPE committees.\nFurther plans for the annual spring convention of the Society of Motion Picture Engineers, to be held at the Hollywood Roosevelt Hotel from April 17 to 21, Homer Tasker, chairman of local arrangements, announces appointments to committees for the event.\n\nOfficers and committees, composed mainly of members of the Pacific Coast Section of the SMPE, include E. A. Williford, president; Nathan Levinson, executive vice president; W. C. Kunzmann, convention vice president; Loren Ryder, chairman Pacific Coast Section; Homer Tasker, local chairman of arrangements.\n\nPapers committee, L. A. Aicholtz, chairman West Coast; reception and local arrangements, H. G. Tasker, chairman; registration and information, W. C. Kunzmann, chairman; hotel and transportation, G. A. Chambers, chairman; convention projection, H. Griffin, chairman; banquet and dance, Nathan.\nThe semi-annual banquet of the SMPE will be held at the Hollywood Roosevelt on April 20. Universal cameramen find new film values in blue. Hollywood has the blues for a newer and faster film, as blue photographs better than white. Visitors on the set of Universal's new Crime Club production, tentatively titled \"Murder in the Surgery, are finding a complete hospital staff outfitted in blue instead of the traditional white. Over on the \"Three Smart Girls Grow Up\" set, Robert Cummings, William Lundigan, and other male members are also in blue.\nDeanna Durbin's supporting cast wears blue dress shirts, ties, and collars. Blue photographs white, and under the low-key lighting used on the fast film, superior results are obtained if an aquamarine color is substituted for garments that were formerly white. Two leaders in experiments with the new film are Joe Valentine, A.S.C., photographer of the Deanna Durbin picture, and John W. Boyle, A.S.C., who is shooting the Crime Club film. A new uni-directional microphone, achieving new sensitivity on its \"live\" side by the use of newly developed and more powerful steel magnets, yet capable of turning a completely deaf ear to unwanted sounds coming from any other quarter, has been developed by RCA engineers. About half the size of the uni-directional microphone it supersedes, the new instrument is ideally suited for film production.\nThe Leica Manual and Miniature Camera Work, published by Morgan & Lester in New York, were well-received in 1938. Two thousand five hundred copies of \"Leica Manual\" and twelve thousand five hundred copies of \"Miniature Camera Work\" were sold, priced at $4 each. The publishers announced that due to the manual's up-to-date content, no revised edition would be released until some time in 1940, which would be the fourth edition.\n\n128 American Cinematographer \u2022 March 1939\n\nKodachrome:\nBoth types of Kodachrome were suitable for use in auditoriums equipped with broadcast or public address systems to eliminate audience noises or echo. They were also ideal for small radio studios where space was limited, as they could function normally in a corner or against a wall. In 1938, Morgan & Lester, publishers based in New York, had an exceptional year, releasing two books: \"Leica Manual\" and \"Miniature Camera Work.\" Each sold for $4, with twelve thousand five hundred copies of \"Leica Manual\" and ten thousand copies of \"Miniature Camera Work\" sold in the last six months of the year. The publishers stated that due to the manual's current content, no revised edition would be published until some time in 1940, which would be the fourth edition.\nThe same price. Available for 8 mm. and 16 mm. cameras in all standard rolls and magazines. Processing and return of the film, within the same country, at no extra charge. IOD your movie camera with Kodachrome, and the world of color is yours. You will find in your Kodachrome movies not merely the brilliant, obvious colors, but also the quiet, subtle tones which are all-important in good color work.\n\nKodachrome is available in two types \u2014 regular and Type A. Regular Kodachrome is color-balanced for daylight, Type A for Photoflood light. Either type can be adapted for use in the other\u2019s special field. Because the Kodachrome process practically eliminates film grain, the projected movies are exceptionally clear. Add its technical excellence to its ease of use and capacity for great beauty \u2014 and it is easy to use.\nThe overwhelming success of the government-produced \"The River\" introduced the new term \"documentary\" into American national life. With the government committed to documentary film production and several independent groups preparing 1939 releases, the film industry requires a frank and critical evaluation of documentary film from both objectives and accomplishments.\n\nDocumentary deals with the expression of an idea rather than a fictionalized story form. In the so-called \"theatrical\" film, the audience's attention is focused on the interplay of human acts and emotions. In contrast, documentary centers on the concept itself, be it social, historical, or educational.\nThe effect of dust storms on agriculture or soil erosion on food prices is of prime importance. Throughout its activity, documentary attempts to relate natural phenomena to the affected people: dust storms to higher prices for clothing, erosion to lessening of the lumber supply and fewer new homes for the people. In cinematizing present-day society, the good documentalist makes use of sociology, the science of human life and relationships; history, the systematic recording of past happenings; and lastly, economics, in which the production and distribution of human needs and necessities is treated as a vital and living social force. The documentary film is a most potent means with which to express all the complex social relationships that together make up a modern society. But more than mere expression, it dramatizes.\nDocumentary films portray relationships in a unique way, combining them with social persuasion, or what is more accurately referred to as propaganda. Most people associate propaganda with politics, overlooking the broader social propaganda that documentary utilizes. Issues such as soil control, planned civil communities, farm and farmer rehabilitation, and unemployment are all within the documentalist's purview.\n\nDocumentary films are propagandists in only one sense: they aim to stir the nation's conscience regarding the need for social and economic reform, frequently suggesting a solution to the problem at hand. The propaganda element in modern documentary imbues it with vitality and social realism, preventing it from becoming innocuous and helping it become a powerful force in America.\nThe United States Government first gave documentary a national voice in America with the creation of the Documentary Films Section of the Resettlement Administration. This was a novel experiment during the time of the Midwest dust storms causing havoc on fertile wheat areas. Pare Lorentz, a prominent critic and chief of the section, chose a history of American agriculture leading up to the dust storms to express the plight of those made helpless by the new and dust-created American desert.\n\nOutstanding cameramen such as Paul Strand (\"The Wave,\" etc.), Ralph Steiner, Leo Hurwitz, and Paul Ivano, A.S.C., were selected by Lorentz to film his script.\n\n\"The Plow That Broke the Plains\" traced the history of the transformation of the dust bowl from its first stages.\nThe text describes the transformation of a cattle grazing plain into a fertile wheat country, and later into a dust-made desert that impoverished thousands of farmers, forcing them to seek homes elsewhere. The film, \"The River,\" produced by the Farm Security Administration, was expressive of American agriculture's history.\n\nScene from \"The Plow,\" a United States Government documentary film by Pare Lorentz. American Cinematographer, March 1939.\n\nLorentz's technique in \"The Plow\" is noteworthy due to the film's excellent audience response. The film was well-paced, purposely quick during scenes meant to evoke the hectic pre-1929 days, and feelingly slow during scenes depicting the tragedy of those made homeless and landless by the pervasive dust.\n\nGreat importance was placed on the musical score.\nThe music, fashioned by Vergil Thompson for the film, was a successful unification means with its American themes. It skillfully used the banjo in the cattle round-up, quick tempo in the expansion sequence, and slow, mournful cadences as the dispossessed family headed west, as their predecessors had done.\n\n\"The Plow\" was an undeniable success, and Lorentz, with his unit now incorporated with the Farm Security Administration, was enabled to continue production. In October 1936, the script was completed, and shooting began on the new film, \"The River.\"\n\nThe small camera crew traveled up, down, and across the Mississippi Valley and basin, filming the mighty river that drains two-thirds of the continent, covering fully twenty thousand miles. Lorentz selected Thompson to do the photography.\nThe following individuals were awarded for their photography: Floyd Crosby, A.S.C., winner of the Academy award for his camera work on Flaherty and Murnau\u2019s \u201cTabu\u201d; Stacy Woodward, codirector of \u201cThe Adventures of Chico\u201d; and Willard Van Dyke, outstanding pictorial photographer.\n\nAn intriguing incident during production provides an illustrative contrast between newsreels and documentaries.\n\nThe camera crew, with all scripted shooting on the film completed, had assembled at New Orleans as the terrible Mississippi floods reached their peak. Motivated, they extensively covered the catastrophe, employing the same material as did the numerous newsreel companies on the scene \u2013 the flooded streets, the plight of homeless families, and the rescue work.\n\nCause of Flood\nThe films released to a news-hungry audience\nThe newsreels focused solely on events during the floods. Much of it was timely and impressive, thrilling in nature. Characteristic of newsreels, they avoided editorializing and drawing conclusions from their material. In reality, they may be considered superficial.\n\n\"The River\" used the same material as the newsreels. The impact of a mighty river was thrillingly recorded, but the cause of the flood was also added. Lorentz stated, \"You cannot plan for water unless you plan for land: for the cut-over mountains; the eroded hills; the gullied fields that pour their waters unchecked down to the river.\" He clearly depicted the menacing implications of the flood and used it as his basis.\nConclusion: a solution to the problem - the damming of the feeder streams that flow into the Mississippi, thus harnessing the giant and forcing him to provide cheap power for the valley population he had harmed. The film was an eloquent plea for conservation and the Government\u2019s power program. The millions who saw the film realized for perhaps the first time the alarming situation in the Middle West and the part that the Government was playing in safeguarding the nation\u2019s interests. Dramatically was the theme presented in \"The River,\" as in few other films, documentary's social role in helping to dramatize a national problem and indicate its solution is strikingly revealed. Other documentaries of note that were concerned with social themes were:\n\"Frontier Films\u2019 \u201cPeople of the Cumberland\u201d and Joris Ivens\u2019 \u201cSpanish Earth\u201d were notable documentaries. The former dealt with unionism's benefits in the Tennessee mountains and the role of the Highlander Folk School in bringing education, health, and recreation. The latter depicted life in war-torn Spain. The documentary films of \u201cThe March of Time\u201d go beyond reporting the news to analyze and interpret important situations. Notable documentaries included \u201cU.S. Medicine: 1938,\u201d discussing socialized medicine, the June 1938 issue on the League of Nations, and a fine discussion of wayward youth in 1935. More documentary interest is promised for later issues by Louis De.\"\nRochemont, producer of the series. The documentary's future in America looks particularly bright. Many important Hollywood studios have shown definite interest in the documentary film, and further developments along the lines of production are certain to come.\n\nIn production in the East at present are Frontier Films\u2019 \u201cCivil Liberties,\u201d based on the LaFollette senatorial committee on Civil Liberties\u2019 investigations; the new American Documentary Films\u2019 \u201cThe City,\u201d written by Pare Lorentz; and a new government film on unemployment, tentatively titled \u201cEcce Homo\u201d (Behold the Man), being directed by Lorentz.\n\nWith a shining record of past accomplishment and high expectations from films in production at the present, documentary seems well started on its way toward becoming a most important means of creating national opinion.\nScene 1 (Interior-Medium, Williams' home, Dorothy's boudoir): Dorothy, assisted by her mother, is dressing and primping to go to a party. A nearby table holds an invitation card. Pan camera to pick up card.\n\nScene 2 (Insert, Close-up of invitation card): \"Calling for you at seven. Bill.\"\n\nScene 3 (Medium, Continuance of Scene 1, Dorothy dressing): (Fade-out)\n\nScene 4 (Fade-in, Exterior-Medium, Outside front door of Williams' home): A telegraph messenger, bearing telegram and corsage-box, approaches front door and rings bell.\n\nScene 5 (Medium, Dorothy's boudoir): Mother and daughter hear bell. Mother stops what she's doing, goes to window.\nScene 6 (Medium): Exterior of Williams home. A messenger waits at the front door for a response. The door opens. Mrs. Williams accepts the box and telegram, signing for it, and closes the door as the messenger leaves.\n\nScene 7 (Medium): Dorothy's boudoir. Dorothy has finished dressing. Her mother enters, bearing the box and telegram, and gives them to Dorothy.\n\nScene 8 (Medium-close): Dorothy opens the telegram in an attitude of wonderment and expectation. This quickly turns to amazement as she reads it.\n\nScene 9 (Insert): Close-up of telegram:\n\nMISS DOROTHY WILLIAMS\n6272 Euclid Ave.\nCrescent, N.J.\n\nREMEMBER ME? STOP\nYOU HAVE A DATE WITH ME FOR EUCLID CLUB DANCE TONIGHT STOP\nYOU MADE IT FOUR WEEKS AGO AT LAST DANCE STOP\nAM ARRIVING ON OVERLAND LIMITED\nScene 10 (Medium-close): Dorothy's amazement turns to bewilderment.\nScene 11 (Medium): Dorothy and her mother, the latter unstringing the box brought by the messenger. Dorothy's bewilderment borders on hysteria.\nScene 12 (Medium): Dorothy, still holding the telegram in one hand, snatches up Bill's card with the other. To her mother, she gestures frantically. What is she to do?\nScene 13 (Medium): Dorothy and her mother. Dorothy continues frantically gesturing with the card and Bill Lawrence. (21, unusually attractive, popular playboy)\nSteve Newman... (21, traveling salesman)\nMrs. Williams (Dorothy's mother)\nMiscellaneous assortment of atmosphere players at a club dance (or lawn party and tennis-court dance).\nProperties\nClub dance (or lawn party) access-\n\n(Note: The text appears to be a scene description from a play or script, possibly with some missing or incomplete information. The text is mostly readable, but there are some minor formatting issues and some extraneous information, such as the ages and descriptions of certain characters and the mention of \"Miscellaneous assortment of atmosphere players,\" which may not be essential to the scene. I have attempted to clean the text while preserving as much of the original content as possible. However, since the text is already quite clean and the extraneous information does not significantly detract from the readability or understanding of the scene, I will not remove it entirely unless specifically requested to do so.)\nstories and attendants, one taxi-cab, two or three small automobiles, one dance (or party) invitation-card, one telegram, one telegraph messenger, two corsages with boxes for the same, two brief pencil-note inserts.\n\ntelegram to her mother: her mother is opening the box. It contains an extremely beautiful corsage with a card carrying an appropriate verse. (Insert of card and verse, optional).\n\nScene 14 (Medium). Dorothy momentarily ceases her excitement over the double-date predicament as she clasps her hands in ecstasy over the beauty and fragrance of the corsage. Tenderly, she takes it from her mother and fastens it to her dress. Suddenly, again bewildered, she unfastens the corsage and replaces it in its box. She can't wear Steve's corsage if she is going with Bill. She turns to her mother, who, incidentally, has been quite amused with it all, in desperation. What shall we do?\nShe suddenly asks, \"What is the time?\" Turning to the clock.\n\nScene 15 (Insert). Close-up of clock.\nIt is exactly 7 o'clock.\n\nScene 16 (Medium). Dorothy, gesturing despair, tosses card and telegram aside and drops into a chair.\n\nScene 17 (Close-up). Her mother, smiling amusedly. Her attitude is that Dorothy thoughtlessly got herself into the mess. So, now, she must think her own way out, if she can. (Fade-out).\n\nScene 18 (Long) (Fade-in). Exterior of Williams home, revealing front door, walk, and street curb. A taxicab and small car drive up simultaneously. Out of the cab steps Steve, asking the driver to wait; and out of the small car comes Bill, bearing a corsage box. They obviously do not know each other as they approach the Williams front door together. (Close-ups here are optional, depending on how good the two actors are.)\nScene 19 (Medium): Exterior of the Williams front door. Bill and Steve have a brief business exchange. One of them rings the bell. The other does so as an afterthought, a few seconds later.\n\nScene 20 (Medium): Dorothy's boudoir. Dorothy jumps up and begs her mother to answer the door for her. She pushes her towards the exit. (Fade-out.)\n\nScene 21 (Fade-in) (Medium): Exterior of Williams front door. Door opens. Mrs. Williams admits the two youths.\n\nScene 22 (Medium): Williams living room. Mrs. Williams takes their hats (or wraps). One of them carries a corsage box. (Alternate close-ups of the two youths with their attitudes toward each other left to the imagination and discretion of the director.) Mrs. Williams exits upstairs.\n\nScene 23 (Medium): Dorothy's boudoir.\nDorothy nervously paces to and fro. Her mother enters and shoos her toward the way down stairs, handing her the boxed corsage, card, and telegram as she does so.\n\nScene 24 (Medium) (Fade-in). Williams living room where Bill and Steve sit waiting, Bill with the corsage box on his knees. Dorothy enters, hesitantly at first, and then \u2014 with a smiling face, head high and quick step \u2014 she tries to take whatever\u2019s coming right in stride. Both rise as she enters. Steve is nearest to her. She approaches him first, thanks him for the corsage that she is carrying in its box which came by messenger. As she turns to introduce them, Bill hands her the second box, mumbling a few words as he glares at Steve. Like all men who dislike being seen carrying flowers, he is eager to be rid of the box as quickly as possible. Dorothy accepts the second box.\nThe box thanks him and completes the introduction. They shake hands, slightly strained or even belligerent, and have difficulty making conversation. Dorothy hands Bill Steve's telegram, pretending it came from Steve, and hands Steve Bill's card, gesturing it came from Bill.\n\nScene 25 (Medium-close): Bill looks at Steve's telegram and then up at Steve.\n\nScene 26 (Medium-close): Steve looks at Bill's card and then up at Bill.\n\nScene 27 (Medium-close): Dorothy, wide-eyed and chewing on a corner of her handkerchief, expects nothing, fearing the worst.\n\nScene 28 (Medium): After a split-second moment of stiff silence and awe, all three burst into forced raucous laughter, the two boys first.\nScene 28 (Medium). Dorothy quickly follows. As they laugh, Bill playfully gestures with Steve's telegram at Steve, and Steve likewise with Bill's card at Bill. Dorothys laughter, however, is with considerable restraint. It isn't funny to her. She's still worrying about the outcome. Finally, they all cease their forced laughter.\n\nScene 29 (Medium). Steve steps forward and pantomimes that Bill should go ahead and take Dorothy, that he'll bow out.\n\nScene 30 (Medium). Bill shakes his head, nothing doing. He gestures that Steve should take her and he'll leave.\n\nScene 31 (Medium). Bill and Steve, alternating the above pantomime with variations, engage in another Alphonse and Gaston act.\n\nScene 32 (Medium). Dorothy, seeing this turn in the already sad state of affairs and not knowing how to handle it, decides that this is the correct time,\nAnd she went to have a good cry, with a mild set of weeps and a little \"slight hysteria.\" She did this, and both boys rushed to her rescue, offering their huge breast pocket handkerchiefs. It took a little while to soothe her, which they finally did, and both gallantly agreed to escort her to the dance.\n\nScene 33 (Medium). Which corsage to wear? That was the next question. This was solved as she finally fastened both to her dress. (Fade-out.)\n\nScene 34 (Long) (Fade-in). Exterior, Williams home. The three came out of the front door, briskly and gayly, walking three abreast to Bill's car. Steve paused to pay off and dismiss the taxi-driver. Then all three boarded Bill's car and drove off. (Fade-out.)\n\nScene 35 (Fade-in) (Long). Euclid Club party in progress. (It may be a lawn fete with tennis court dancing or other outdoor activities.)\nThree scene descriptions:\n\nScene 36 (Medium): A clubhouse or hired hall. Couples and extra girls dance, sit, or stroll about. Bill, Dorothy, and Steve enter, disposing of their wraps and looking gay and brisk.\n\nScene 37 (Medium): Steve looks around and notices with complacency that there are many more girls than men.\n\nScene 38 (Medium): Bill also looks around and makes the same surreptitious observations as Steve.\n\nScene 39 (Medium): Another group or two of females noted by the pan camera and Bill.\n\nScene 40 (Medium): The three standing, taking in the sights. A third youth enters and asks Dorothy to dance. She hesitates and then politely declines, gesturing that she's engaged.\nwith Bill and Steve and that she must dance with them first. The third youth exits, precipitating another Alphonse and Gaston act about who is going to dance with Dorothy first. When they decide to flip a coin, Dorothy starts to remonstrate about gambling over her, but, on second thought, thinks better of it and does nothing but begin to chew on a corner of her handkerchief. Steve wins the toss and moves toward the dance with Dorothy, while Bill makes a beeline for a girl he's had his eye on. (Fade-out.)\n\n(Note \u2014 The dance, in general, may be used at the director's discretion for specialty numbers, such as \"shining\" the Big Apple, etc., which may be cut in here.)\n\nScene 41 (Fade-in) (Medium). A dance number is over. Steve has been dancing with a strange, beautiful girl; ditto, Bill; while Dorothy seems to have been standing aside.\nEnjoying herself with a strange, handsome youth. However, the boys' new partners, which are from separate groups, stay with them. Dorothy's partner excuses himself to rejoin his \"date.\" (Fade-out.)\n\nFrom Culbam Trip\n\nArt Reeves returned to Hollywood on February 21 after five weeks in Cuba and Texas. In the Island Republic he installed much machinery in the Peliculas Cubanas, a laboratory in Havana. For that company he supplied developing machinery, sensitizer, a recording system complete and sound recording system.\n\nIn this studio, which really is a fine outfit, with an investment of approximately $250,000, the cameraman is filming.\n\nScene 42 (Medium-long) (Fade-in).\n\nThe party's over. Everyone is leaving. Steve and Bill nowhere in sight. Dorothy is standing alone. An attendant approaches Dorothy and offers her two tickets.\nAngry with anticipation, she opens two notes, both brief, penciled hurriedly in two different, large, bold hands. One is from Bill; the other from Steve. Each note states that the writer is letting the other fellow take her home.\n\nScene 43 (Insert). Close-up of the two notes together, held side-by-side, one in each hand.\n\nScene 44 (Medium). Dorothy furiously tears the notes to bits, yanks both corsages off her dress, stamps on them and exits in a huff.\n\nScene 45 (Long). Dorothy approaching and entering a taxicab. The cab drives off with its sole and very angry occupant.\n\n(Fade-out.)\n\nTommy Hogan of New York and Benny Winkler of Hollywood. At the Estudio Chic, the Hollywood manufacturer installs a Reeves Recorder, and in three other laboratories takes orders for parts and accessories.\nThe Estudio Chic employs a crew from Hollywood which includes a director, cameraman, sound man, boom man, gaffer, and make-up man. Reeves stopped at San Antonio, Texas, on his return and accepted orders for laboratory machinery that will provide Kier and Phillips\u2019 Gulf Coast Studios with laboratory equipment. The studio will make Western subjects and also do commercial work for South Texas.\n\n16mm Developing Machinery\nEquipment with a new all-friction Driving Principle\n\nThe Simplest Method Yet Devised for Driving Motion Picture Film Through a Developing Machine\n\n15\u201c per hour capacities for both\n3000 ft per hour\n6000 ft per hour\n\n35 MM in same capacities\n\nTemperature control and developer agitation units are regular equipment on these machines.\n\nProduces finished work of the highest quality without rehandling.\n\nWe Manufacture Developing Machines Only.\nCable Address \u2014 \"FONDA\" FONDA Machinery Company 8928 Santa Monica Blvd. Los Angeles, California Art Reeves Home March 1939 American Cinematographer 133 NOTES FROM THE MOVIE CLUB Peninsula Cine Club At the January meeting of the Peninsula Cine Club of Monterey, CA, held at the home of Dr. Guy V. Rukke, the question was brought up of filming the ceremonies commemorating the forty-sixth anniversary of the organization of the First Christian Church, Pacific Grove, for the permanent records of the church, as a cooperative Club filming activity. The Rev. James H. Woodruff, pastor, was invited to the next meeting to assist in planning this project. President Mathison proposed to form a club reference library of periodicals and books relating to our hobby, for free circulation among the membership. Doctor Rukke offered to care for such a library.\nDoctor Rukke screened his films of the local nearly-extinct sea otter and budding flowers, demonstrating the complicated mechanism he uses for the latter work. He also projected shots of three killer whales in a group and various shots of the Rose Tournament Parade in Pasadena.\n\nG. Allison Shoemaker screened the film records of the Lighthouse Club, Pacific Grove. After a general inspection of Doctor Rukk's workshop, including his projection room, delayed-exposure apparatus, titling outfit, darkroom, and machine shop, the meeting adjourned.\n\nAt the February meeting, the Rev. Mr. Woodruff gave us a brief talk outlining the way for the future development and services of amateur motion pictures. Doctor Woodruff also will assist us in laying plans for the cooperative club.\nFilming activity of making a documentary film record of ceremonies early in April commemorating the forty-sixth anniversary of the organization of the church. A general discussion of the latest ideas and an exhibition of films of several members followed.\n\nLos Angeles 8mm Club\n\nThe February meeting of the Los Angeles 8mm Club was held on the 14th at the Eastman Auditorium, Hollywood. John K. Northrop, Chairman of the social committee, introduced the following new members: Orrin H. Williams, William D. Parsons, Wayne B. Harper, Leo Caloia, William J. Millar, Paul N. Armstrong, and Lewis B. Reed.\n\nFour contests to be held this year were announced by C. M. Drury, contest committee chairman: 50-foot reel contests in March and September; a semi-annual contest in June; and an annual contest in December. Participation in all contests is encouraged.\nThe first three do not make a picture, eligible for the annual contest. Worthwhile prizes will be awarded to the winners in all contests.\n\nClaude Cadarette, chairman of the shut-in committee, spoke of that committee's plan to put on shows for the benefit of inmates in various hospitals. The first showing being scheduled for this month at the Children's Hospital, and requested members to cooperate in furnishing film for this purpose.\n\nThe three films won as door prizes at our annual banquet last December were shown. Leon Sprague's \"Just Kids\" winning honors over Volney Burdick and James Ridge.\n\nDuring intermission, the first issue of \u201cThru the Filter\u201d for 1939 was distributed. This issue sets a new high standard for the editor to maintain during the year.\n\nThe remainder of the evening was given over to the showing of prize winning films.\nThe Metropolitan Cine Club had a busy month. A news reel truck filmed the entire Winter Carnival Parade with twelve members. A broadcast \"Movie Making for the Average Person\" was sent out over station WMIN. Due to the favorable comments received, Station WMIN has requested the Metropolitan Cine Club to prepare and present another broadcast in the near future. With membership increasing rapidly and the quota small, the Metropolitan Cine Club urges all who wish to become members to apply at once. Address the Metropolitan Cine Club at the Angus Hotel, St. Paul, Minn.\n\nHarold E. Pigott, Secretary.\nMetropolitan Cine Club\n\nPhiladelphia Cinema Club\nTo those 250 members and guests.\nAt the February meeting of the Philadelphia Cinema Club on February 14, John V. Hansen, vice president of the A.C.L., presented a real treat in the film exhibited, detailing his trips through England and Denmark. Hansen accompanied his film with a running commentary that brought out the highlights of the trip, allowing listeners to follow his movements with the camera as he worked his way through England and Denmark.\n\nIn accordance with the club's policy, nominations were held for the election of officers for the upcoming year. The following names were nominated: President, A. L. O. Rasch; vice president, Robert W. Crowther; secretary-treasurer, Horace Wilson. As in each case, nominations were closed after each name was seconded, making the nominations tantamount to elections.\nAttention was directed to the fact that the Annual Banquet to be held February 28 had a ticket sale in excess of any other previous banquet held by the Cinema Club of San Francisco.\n\nB. N. Levene,\nChairman of Publications Comm.\n\nMeetings are now held at the Furniture Mart, 1355 Market street, on the third Tuesday evening of each month.\n\nAt the February 21 meeting, Robert McCollister gave a blackboard talk on photo lenses. This was a non-mathematical treatment dealing with the elementary principles, the interesting highlights of the history and development of lenses, and technical features of interest to camera users. As Mr. McCollister is an optician as well as an enthusiastic cinematographer, he was well-versed on lenses and prepared to answer questions.\n\nThe officers for the year are: President, Denis Donohoe III; vice president, [Name missing].\nHerbert Kelley, L.M. Perrin's secretary, Film Production in Brazil (Continued from Page 110) In the past (usually obsolete), these \"producers\" would photograph anything that came to mind \u2013 trees, parks, highways, children, bathing beauties or almost anything, and cement them into one reel. They would record these with a phonograph record and add a not too descriptive background in Portuguese.\n\nNevertheless, the film was a \"local Brazil-made film\" and would fall into the class that would be forced upon theatre owners. The latter would have to pay for this film and be obliged to run it by law.\n\nAs a result, most Brazilian theatre audiences go out in the lobby and smoke while this particular local product is screened.\n\nMuch needs to be said about the valiant attempt of the Brazilians in their film producing business. I believe they will succeed.\nI.iron out their difficulties as time passes and that their production problems will smooth out as the new studios in Sao Paulo, Brazil, go into active production. These studios were still under construction when I was in that city about three months ago.\n\nBrazil has a fine all-year-round climate of almost continuous sunshine, which is ideal for outdoor films. While I was making a picture of outdoor type, I had three weeks of continuous sunshine.\n\n134 American Cinematographer \u2022 March, 1939\nResidence: 701 Urbano drive, San Francisco; 9455 Delaware; Treasurer: R. E. Pettingill; Directors: Robert McCollister, Edward G. Petherick and Vernan Hallett.\nL.M. Perrin, Secretary.\n\nThe Sherman Clay Camera Club has swung into the New Year with new life. Committees have been appointed and plans made for a very active year.\nWhat with the monthly meetings at the club, the social get-togethers at the home of Mr. and Mrs. Leo Hone, new movies to be made, contests and field days and the San Francisco World's Fair \u2014 the club has a full program on its hands.\n\nThe first field day of 1939 was held at San Francisco Airport on January 8. Airport and United Airlines officials showed the utmost courtesy and cooperated fully, thereby enabling the members to take some very interesting pictures.\n\nAll amateur movie fans in San Francisco or nearby who would like to join the Sherman Clay Camera Club please write to Mrs. Clifford Griffen, 1335 Washington street, San Francisco. We will be glad to have you!\n\nDocumentaries That Grip (Continued from Page 10)\nfellows find their subjects in their native state. One of the sequences was where a great polar bear took in its teeth the end of an unlucky hunter's kayak.\nA cheerful woman pushed an umbrella into the face of the bear, who took it and strutted across the ground to a pool in his quarters. He threw the umbrella into the lake and, acting like a frisky goat, went up in the air and dove down alongside the water's edge. The bear provided entertainment by himself, using and misusing the donor's umbrella. Visitors to the zoo crowded to get a close-up view of the show. The scene was packed with belly laughs, according to the realist American theater press agent.\n\n\"Cover to Cover\" is the story of writing a book, detailing the stages from the creation of the manuscript to the placement of the finished article on the bookshelf.\n\n\"Street Car\" is the tale of one of the stories.\nAlbert Bailey presented newer brands of street service in Los Angeles for \"Mexican Arts and Crafts,\" achieving it in the capable manner that marks ERPI products. Don Gledhill, executive secretary of the Academy, was present and introduced Miss Seton, expressing marked interest in the forum's work. J.H. Booth, Bell & Howell Company general sales manager, anticipated record-breaking dealer attendance and a program packed with unusual trade interest at the National Photographic Dealers Association Convention to be held at the Hotel Astor, New York, week of April 23. Subsequently, Mr. Booth moved to Chicago as a development engineer in Bell & Howell research laboratories.\nSpecializing in the design of amplifiers and sound projectors, Booth moved next to the Chicago main office executive sales department, serving as assistant sales manager for three years before his appointment as general sales manager of Bell & Howell Company last year. Booth is in constant touch with B & H Company's world-wide sales affairs, anticipating that the coming N.P.D.A. convention may assume an international photographic dealer aspect due to the imminent opening of the New York World's Fair \"just around the corner.\"\n\nFor Distinguished Achievement in Photography: Joseph Ruttenberg, A.S.C.\nFor Distinguished Achievement in Color: Oliver Marsh, A.S.C. and Allan Davey, A.S.C.\nFor Distinguished Achievement in Color: Gordon Jennings, A.S.C., Dev Jennings, A.S.C., Irmin (Unclear)\nSecond Scholastic Salon of Photography opened to the public at 2 p.m. on February 18, 1939, in Education Hall at the American Museum of Natural History in New York City. The best work of camera enthusiasts from junior and senior high schools across the nation was on display for five days. The Salon was the second national exhibition conducted by the camera clubs affiliated with the American Institute of Science and Engineering Clubs.\n\nRoberts, Art Smith, and Jan Domela - Special Effects\nFarciot Edouart and Loyal Griggs - Transparencies\n\nSincere congratulations,\nMole-Richardson Co.\n941 No. Sycamore Avenue, Hollywood, California\n\nAmerican Cinematographer, March 1939 - High Schools Compete in Second Scholastic Salon of Photography.\nUnder the supervision of a committee representing the camera clubs of many large schools and the American Institute of the City of New York, the Salon is conducted on the same basis as professional exhibits. The awards of a grand prize, nine general prizes, and fifteen honorable mentions will be made by a judging committee of the following experts: Edward Alenius, Walter Civardi, Fred Z. Kean, Lincoln F. Baar, Helene Sanders, D. J. Ruzicka, Nicholas Haz, Esther B. Schlanger, and J. Ghislain Lootens.\n\nWhat proportion of movie fans own still cameras?\nThere is something to this reported inclination on the part of many amateur photographers to divide their affection between motion picture and still cameras. Word comes from Seaside, Oregon, of an organization meeting held January 24 of a camera club. Seaside, it may be added, is a town of 1600.\nNear the Washington border, John Ritchie was elected as the temporary president, and Louis Le Doux was the secretary. Thirteen people were present, six of whom were movie enthusiasts, and twelve owned still cameras. This means five out of the six who owned motion picture cameras also owned still cameras. This fact strengthens the natural and somewhat logical belief that if there is any rule regarding a first love as to cameras, the still camera is the choice.\n\nThere are solid and obvious reasons why this should be so. Not the least of these is the fact that a still camera is assumed to be simpler and to entail less expense than a motion picture camera, if that is indeed a fact, and there are some who will deny it.\n\nStatisticians will find material for their pencils when twelve out of the thirteen members followed the still camera and but one the motion picture camera.\nSix out of the same number own motion picture equipment. Another fact that will be forced to attention is that one-half of those who buy still cameras later secure motion picture equipment.\n\nBell and Howell employees take $2,000,000 insurance. J. H. McNabb, president of Bell & Howell Company, announces employees of this Chicago motion picture equipment manufacturing firm have accepted a comprehensive new plan of cooperative group insurance. This includes not only life and permanent total disability insurance, but also accident and health benefits, and indemnity for hospital confinement and surgical operations.\n\nThe new plan replaces a group life insurance plan which the company has carried for more than 12 years. Involved employees in the Chicago and domestic branch offices, the entire new plan is underwritten by the Travelers Insurance.\nThe board of directors of the Advitagraph Corporation announced the election of J. Kenfield Morley as president and director. Morley joined the company in 1937 as vice president in charge of sales and advertising, having previously served as sales promotion manager of Bell & Howell Company in Chicago for several years. The Advitagraph Corporation manufactures Flolite continuous motion picture projectors.\n\nAdvitagraph Corporation\nManufactures Flolite continuous motion picture projectors\n\nArt Reeves Motion Picture Equipment Studio and Laboratory\nTested since 1929\n\n\u2022 Automatic Developing Machine\n\u2022 Sensitester\n\u2022 Variable Density Sound System\n\u2022 Variable Area Sound System\n\u2022 Single System\n\u2022 Recording System\n\u2022 Microphone Boom\n\u2022 Reeves Lites\n\u2022 Sound Accessories\n\u2022 Laboratory Accessories\n\nArt Reeves\nCable Address: ARTREEVES\n7512 Santa Monica Blvd.\nHollywood, California, USA.\nThe American cinematographer, March 1939: RCA constructs the largest ever Perisphere, in conjunction with the 700-foot Trylon, has become the symbol of the New York World's Fair. Sound engineers of the Radio Corporation of America have utilized the Perisphere to form the horn of the largest loudspeaker ever built. This vast sound reproducer can accommodate thousands of people at its periphery. The huge speaker, used to provide music at the Theme Center, is just one of the many powerful sound distribution and reproducing systems supplied by RCA for the fair grounds. In several instances, new types of loudspeakers of unusual power and fidelity have been developed for this purpose. A battery of thirty-six high and low frequency sound reproducers will be installed in a large concrete chamber.\nThe chamber below ground at the base of the perisphere is entirely concealed from view. This chamber couples the reproducers to the horn created by the perisphere and the surrounding ground surface, forming a horizontal 360-degree circular speaker. The massive unit is designed to cover the audible range of sound from 20 to 10,000 cycles. It will reproduce sounds so low in the lower register that they will be felt rather than heard.\n\nAlexander Fisher of RCA described the sound system: \"This huge speaker will be capable of reproducing sound with unusual fidelity over a range never before realized on commercial outdoor speakers. No comparable unit has ever been built because such a large sphere has never before been available. This 200-foot ball, set approximately 4 feet above the ground,\"\nThis system will give us a circular horn 100 feet in depth, 4 feet at the throat, and 100 feet at the mouth opening. \"This system will be capable of reproducing the low notes of the largest pipe organs and the tone equivalent of a cast bell of 30 feet in diameter, which will provide a depth of tone never heard before, as it is impractical to cast a bell of such proportions.\"\n\nThe nerve center of all sound throughout the fair will be in the Communication Building, where studios and control rooms are being constructed on a scale surpassing that of a modern broadcasting station. Several programs can be distributed simultaneously to all locations on the fair grounds through a master control desk. The entire control center, which takes up a generous portion of one side of the building, will be glass-enclosed for inspection by visitors.\n\n16 mm. Color News Reels.\nMake Real Hit in New York\n\nDue to the very favorable reception accorded its first film \"On the Ice,\" The Newsreel Theatres Inc. announces the following schedule of 16 mm. sound color films to be shown in its new theatre on Fiftieth street in Rockefeller Center, New York:\n\nFebruary 2, \"New York in Color\"; 9, \"Speed Demons\"; 16, \"New York in Color,\" second episode.\n\nIn commenting on this series, W. French Githens, president of Newsreel, said: \"The advent of color newsreels is most significant. Our patrons are already demanding color newsreels just as they demanded sound newsreels shortly after the introduction of sound on film.\n\n\"These color films have been produced by Harold E. Wondsel, vice president of Sound Masters, Inc., who has done a marvelous production job. Sound Masters, Inc., deserves much credit for the two years' experimental work in color film production.\"\n16 mm. sound color newsreels. It also opens up a tremendous field in educational and advertising color sound films.\n\nBefore buying any portable screen, see The Challenger. You will like its convenience. The Challenger can be set up anywhere in 15 seconds. No tables needed. No confusion getting ready. You will like its modern construction. The Challenger alone has square tubing in the center rod of the tripod and the extension support to hold the screen rigid and keep the entire picture perfectly aligned and in perfect focus. The Challenger is durable too. Its mounting is extra strong at all vital points to withstand wear. Its glass-beaded surface is shatter-proof, stays white longer than any other white surface, and remains pliable indefinitely. Insist on the Da-Lite Challenger for utmost convenience and efficient projection. Write for literature and name of\nDA-LITE SCREEN CO., INC.\nManufacturers of Theatrical and Professional Screens with All Types of Surfaces and Mountings.\nDEPARTMENT 3AC 2723 North Crawford Avenue Chicago, Illinois\nMarch, 1939 American Cinematographer 137\n\nNew Publications\n\nLifelike Portraiture with Your Camera by W. H. Doering\nTranslated and adapted by L. A. Leigh, F.R.P.S.\nAmerican Photographic Publishing Company, 353 Newbury street,\n\nThe book announces it is not the intention of the author to give a history of portrait photography nor to tire the reader with the problems and difficulties which have confronted portrait photographers in other days. He does, however, allude to the pictorial value of the pictures made by David Octavius Hill as early as the middle of the last century \u2013 and with the most primitive equipment.\n\"This should serve to impress upon the budding artist that neither the modern high-speed lens nor the most versatile camera nor the latest super-sensitive emulsion are sufficient to produce good portraits. This can only be achieved by the worker who is truly enthusiastic about his art and who strives with all his might towards an ideal.\n\nPortraiture is probably the most popular branch of photography. This book will be popular with the amateur, as whatever means are suggested by the author they will be within the scope of the amateur portraitist.\"\n[GORDON BENNETT \u2014 Manager bought-sold-rented Everything Photographic Professional and Amateur Eastern HEADQUARTERS FOR the '1 CAMERAMEN SSAS.as\n\nRELIABILITY\nMore than 230 Berndi-Maurer sound-on-film recording units are now in daily use, in all parts of the world. They are subjected to all the usual hazards to equipment common to the sound-movie business. But, only eleven of them have ever been returned for repair.\n\nB-M MODEL F\n... A Compact, Rugged 35mm S-O-F Recording Unit for Symmetrical V.A. Track.\n\nThe Berndt-Maurer I0RP. 117 ERST 24th ST* I1EUI VORH\nsimplest means, whether he is in or out]\n\nMore than 230 Berndt-Maurer sound-on-film recording units are in daily use in all parts of the world. They are subjected to the usual hazards of the sound-movie business, but only eleven have ever been returned for repair.\n\nB-M Model F\n... A compact, rugged 35mm S-O-F recording unit for symmetrical V.A. track.\n\nThe Berndt-Maurer I0RP, 117 ERST 24th ST I1EUI VORH (simplest means, whether he is in or out)\nThe illustrations are instructive and exemplary, and the drawings showing lighting effects are extremely clear and helpful. The Wellcome Photographic Exposure Calculator, Handbook and Diary 1939 was issued by Burroughs Wellcome, Forty-first street, New York, with offices around the world. It was printed in England. Like its predecessors, the Handbook is an up-to-date and reliable guide to the actual practice of photography and is designed to assist the photographer at every stage of his work.\n\nThe book is roughly 314 by 5.5 inches, is bound in red cloth, with a stout overlapping clasp. It has 236 pages, 40 of which are set aside for exposure records and memoranda, and 56 of which are given over to a calendar.\n\nReviewing the course of leaders in photography from the beginning, the book points out that \"Despite the revolutionary changes that have taken place in the methods of photography, the fundamental principles remain the same.\"\nThe fundamental aspect of photographic processes remains constant \u2014 exposure. Throughout the book, numerous pages are dedicated to this concept. Attention is provided to every factor influencing image creation.\n\nThe Visual Education Society, with headquarters at Tanker Villa, Gowalie Tank Road, Bombay No. 7 (India), sponsors \"Place of Film in National Planning\" by K. S. Hirlekar, one of the society's founders. The publication is the first of its kind in India and contains all relevant information and statistics regarding the Indian film industry from its inception to the present time. Therefore, it will make a useful reference work for all those who wish to stay informed.\nAgfa announces new low-priced 16 mm film. This new Agfa 16 mm Panchromatic Reversible film is fast, sensitive to all colors, and provides sparkling screen brilliance on projection. Image details are held clear by the notably fine grain, and effective halation protection is provided by an opaque coating. Made on safety base, this film retails at $4.50 per 100 feet daylight loading spool and $2.75 per 50 feet daylight-loading spool. Processing is included in the purchase.\nprice and is furnished without additional charge at any of the following authorized Agfa Ansco finishing stations: Agfa, 245 West Fifty-fifth street, New York; Agfa, 433 East Erie street, Chicago; Agfa, 1043 South Olive street, Los Angeles; Agfa, 121 Julia street, Jacksonville; Motion Picture Service Co., 125 Hyde street, San Francisco; Calvin Company, Twenty-sixth and Jefferson streets, Kansas City, and Associated Screen News, Ltd., 5271 Western avenue, Montreal.\n\nHow to Tone Prints by Arthur Hammond, F.R.P.S., associate editor American Photography. American Photographic Publishing Company, 353 Newbury street, Boston. 72 pp. This book is the fourteenth in the Practical Photography Series. Its opening is \u201cThe Why of Colors.\u201d There comes a time for most amateur photographers, the writer goes on to say, when they want to tone their prints.\nThe unassuming black and white of a bromide enlargement, or even the warmer toned chlorobromide print, no longer looks good and they crave pictures in full, natural colors, or failing that, of exchanging the sombre black and white for a more attractive color. From this beginning, the writer moves along through the paths of primary and secondary colors and tertiary colors. He says: \"Although the purpose of this little book is to explain in detail some of the popular ways of toning a black and white print to get a wide variety of colors, it is necessary, in order to cover the subject completely, to mention briefly some of the simple methods of making a print in different colors.\" The little book should prove a good one to have on the shelf of the professional or the advanced amateur.\n\nAmateur Cinematographer's Diary\nThe \u201cAmateur Cinematographer\u2019s Diary\u201d discusses... (truncated due to length)\nThe 1939 Amateur Cine World annual is in its third year. Its predecessor sold more than 70% before publication. Due to its attractiveness and evident usefulness, the present publication might have established the same record. Its home is Link House, 300-304 Grays Inn Road, London, W.C.1, and it was prepared with much care by the editor of The Amateur Cine World.\n\nThe book contains over 250 pages. The first half and some is devoted to general camera information. The second half is devoted mainly to the diary. Among the contents in the earlier part of the publication are Exposure, Charts for Every Month of the Year, Table of Film Speeds and Groupings, Artificial Light Data, Lenses, Filters, Properties, Factors, Complete Table of Filters for the Cine User, Processing, Projection, Sound and Silent; Editing, Tilting, Trick Effects, Customs, The Law, and General.\nAmateur Movie Production by William J. Shannon, second edition published by Moorfield & Shannon of Nutley, N.J. at 50 cents. Contains chapters on organizing a movie club, organizing an amateur producing unit, scenario writing, a sample scenario, and two scenarioettes for film tests. Space is also devoted to making up for the camera and other helps for moviemakers. New edition printed in bulk paper, pocket size (5 by 7 inches), bound in leatherette cover.\n\nArt Reeves' Catalogue: 24 pages and cover, size 8 by 10 inches, heavy paper. Everything Photographic for Professional and Amateur: The World's Largest Variety of Cameras and Projectors. Studio and Laboratory Equipment with Latest Improvements.\nHollywood Studios. New and Used.\nSend for Bargain Catalogue.\nHollywood Camera Exchange.\n1600 Cahuenga Boulevard.\nHollywood, California. Cable: Hocamex.\nLanders Trissel, Inc.\nRentals - Service.\nMotion Picture Cameras - Blimps - Dollies - Camera Crane.\nAnd All Accessories.\nPhone: 6313 Sunset Boulevard.\nNear Vine Street.\nHollywood, California.\n\nNight.\n\nLanders HE 1311.\nTrissel - Sunset 25992.\nA/out 9 Hi.\n\n(MEIOLOR!\n\nToday, Cinecolor throws the master switch in its new $250,000 Burbank plant... as motors hum, vats swish and pulleys begin their ceaseless \"chores\"... a vital new milestone is passed. Now equipped to add a million feet each week to the 40,000,000 feet of its film being shown throughout the world... Cinecolor is destined to push on to greater heights in color accuracy, flexibility, speed and economy.\n\nMarch, 1939. American Cinematographer 139.\nThe book details his motion picture equipment as it has been developed for studio and laboratory since 1929. It describes among other devices his automatic developing machine, sensor tester, variable area sound system, variable density sound system, single system, rerecording system, microphone boom, Reeves Lites, sound accessories, and laboratory accessories. The book is amply illustrated. This includes also the several brands of Reeves lites, in which amateurs may prove interested.\n\nA new fifty-two page booklet of special interest to users of 35 mm miniature cameras has just been published by Agfa Ansco Corporation. Titled \u201cSelecting Your Miniature Camera Film,\u201d the new booklet is profusely illustrated and covers in a thorough way the applications, technical characteristics, and practical usage.\nOf the six 35 mm. films manufactured for miniature cameras by Agfa, this book provides valuable information for users of 35 mm. miniature cameras. It assists in making a film selection that better fits requirements on each picture-taking occasion. The booklet details the differences between the six films and the types of subject matter for which each is best suited. Topics covered include speed, color sensitivity, contrast, grain size, latitude, and halation protection for each film. Additionally, there are separate sections for:\n\nN.C. Mitchell Cameras\nStandard Mitchell Cameras\nBell & Howell Cameras\nStudio Equipment Blimps\nPanoramic Dollies\nHi-Speed Equipment\nBi-Pack Color Cameras\nSingle Systems\nComplete Lighting Equipment\nMoviolas\nCooke Speed Pancro or Astro\nPan Lenses\nWRITE FOR RENTAL RATES\nSole Eastern Representatives\nMitchell Camera Corp.\nMotion Picture Camera Supply, Inc.\n723 Seventh Avenue, New York City\nCable Address: Cinecamera\nThis catalog deals with exposure information, development and packaging. Speed ratings, filter factors, and time gamma data are fully discussed.\nCopies of \u201cSelecting Your Miniature Camera Film\u201d are available on written request to Agfa Ansco Corporation, Binghamton, New York.\nFree Films for Schools\nThe book that teachers have been awaiting for years. It lists alphabetically 1400 free films from over 300 sources throughout the United States. Cross references under 60 different headings show at a glance what films are available for school projects. Physical data of each film is recorded: the number of reels, whether 16mm. or 35mm., and whether sound or silent.\nFried Sound and\nPrinter Model DB, Fried Camera Co., 6154 Santa Monica Blvd., Hollywood, CA, Cable Address: FRIEDCAMCO, Developing Machines, Printers, Lite Testing Machines, FAXON DEAN INC., CAMERAS, BLIMPS-DOLLIES FOR RENT, 4516 Sunset Boulevard, It is a well-printed book of 64 pages, 6 by 9 inches, Published at 25 cents by the DeVry Corporation, 1111 Armitage Avenue, Chicago.\n\nWilloughby's Bargain Catalogue, Willoughby\u2019s, 110 West Thirty-second street, New York, has issued Bargain Catalogue No. 1238. It is of twenty-eight pages and packed with prices of a wide assortment of equipment.\n\nCentral Camera Company, 230 South Wabash avenue, Chicago, has issued its fortieth annual anniversary sale catalogue. The booklet contains sixty-four pages and is heavily illustrated.\n\nCinematone Leases Cinema.\nCinematone Corporation, headed by Dr. Gordon Keith Woodward and W. P. Falkenburg, have taken a three-year lease on Associated Cinema Studios. The company will make its own phonograph and radio transcriptions, as well as produce a series of short subjects, besides renting space to independent outfits.\n\nGundlefinger Is Secretary\nA. L. Gundlefinger, Cinecolor vice president and technical director, has been elected secretary of the West Coast branch of the Society of Motion Picture Engineers.\n\nCOOKE LENSES\nHave long formed the \"spearhead\u201d of progress in cinematography by exceeding current demands and anticipating future requirements. Focal lengths for every need. Write for descriptive literature.\n\nBell & Howell Company\nExclusive World Distributors of Taylor-Hobson Cooke Cine Lenses\n1849 Larchmont Avenue, Chicago\nNew York: 30 Rockefeller Plaza\nHollywood: 716 N. LaBrea Ave.\nLondon: 13-14 Great Castle St.\n140 American Cinematographer \u2022 Television Makes Debut at San Francisco Fair\nVisitors to the Golden Gate Exposition at San Francisco will see practical home television demonstrated and will themselves have an opportunity to be televised, according to officials of the Radio Corporation of America. This will be the first public showing of \u201chigh definition\u201d electronic television on the Pacific Coast.\n\nRCA has erected a large building, with over 5000 square feet of space, on the Exposition grounds to house the television studio and viewing room. Radio facsimile, which will print news bulletins, pictures, and other text in the home, will also be shown, in addition to displays representative of every phase of the radio art.\n\nGuides will direct visitors to the television studio, where they may stand before the electric eye of the television camera.\nIn a studio, a camera will be visible and audible to visitors in an adjoining room, who will also see the images through a glass window. Lighting equipment similar to that used for motion picture production will provide illumination. The images will be seen in black and white on the fluorescent surface of Kinescope receiving tubes, either directly or reflected from a mirrored surface. Kinescope tubes are twelve inches in diameter and produce a television image approximately 8 by 10 inches in size. In the studio, an Iconoscope tube, or electric eye, corresponds to the film in a Movola film editing equipment. Movola Co., 1451 Gordon St., Hollywood, Calif. Save Money \u2013 Buy Your Hollywood 16mm.\nFT A/f minimum is 2 rolls.\n1 YA at this low price.\nNon-halation, fine grain, ample latitude. Above price includes machine processing, spooling, mailing. California buyers include sales tax.\n\nHollywoodland Studios\n9320 Calif. Ave. South Gate, Calif.\nFilm By Mail\n\nOutdoor\nplus 10c per roll handling charge.\n\nThis camera, except for the Iconoscope, converts optical images into electrical impulses. The camera lens focuses on GOERZ KINO-HYPAR LENSES. Capture Nature\u2019s Awakening in all its glorious Colors on Kodachrome, Dufaycolor and other color films.\n\nThe high chromatic correction of these lenses will yield results which will be a revelation to you and your friends.\n\nClear-cut images, undistorted, of microscopic definition and wonderful, crisp brilliance.\n\nFocal lengths 15 mm. to 100 mm. can be fitted in suitable focusing mounts to Amateur and Professional Movie Cameras.\nGOERZ Reflex Focuser\nPatented\nA boon to 16 mm movie camera users - eliminates parallax between finder and lens - provides full-size ground-glass image magnified 10 times. Adaptable to lenses 3\" and up. Also useful as Extension Tube for shorter focus lenses for close-ups. Extensively used in shooting surgical operations, small animal life, etc.\nAddress Dept. AC. 3\nC.P. GOERZ AMERICAN OPTICAL CO.\nAmerican Lens Makers Since 1899\nThe subject is placed on a plate that has been coated with millions of miniature photo-cells.\nThese tiny light-sensitive elements store up or lose electrical charges that correspond exactly to the light and dark portions of the subject.\nAt the other end of the Iconoscope tube is an electron gun, which directs a sharply focused beam of electrons onto the plate in a rapid back and forth motion, a line at a time, until it has exposed the entire image.\nThe entire surface of the plate was covered, converting the image into electrical impulses.\n\n4500 Miles per Hour\n\nAt the receiving end, the Kinescope tube reverses the transmitting process. The incoming signals are amplified and made to control the intensity of an electronic beam which bombards the luminescent surface of the tube. This bombardment builds up the picture by a back-and-forth motion, a line at a time for 441 interlaced lines, at such a high rate of speed (4500 miles per hour) that the resultant picture looks complete to the human eye at any given moment.\n\nThe RCA Exhibit, which will be near the main entrance to the Exposition on Treasure Island, will also include modern broadcasting equipment, marine radio communication and safety devices, and many other important services of the radio art.\n\nA large part of the building will be dedicated to these displays.\nfurnished as a comfortable lounge in which visitors may rest while listening to recorded music and viewing interesting murals and photographs depicting the highlights of the radio industry.\n\nGeo. W. Colburn Laboratory\nSpecial Motion Picture Printing\n1197 Merchandise Mart, Chicago\n\nPatents \u2013 Trade Marks\nRegistered Patent Attorney executes drawings, drafts, specifications; writes patent claims differentiating from prior art; secures patents \u2013 machines, processes, manufactures, compositions of matter.\n\nSamuel Goldstein, (R.P.A.)\n275 East Gunhill Rd. New York City\n\nMUST SACRIFICE\nDE BRIE SUPER PARVO\n\nNew Type Ultra Silent Camera \u2013\nNo Blimp Necessary\n\nHas built-in motor, automatic dissolve, pilot pins and anti-buckling device. Four 1000-ft. magazines \u2013 40 mm, 50 mm and 75 mm. F2.3 lenses, De Brie upright finder, set of front attachments. Leather covered.\nCarrying a trunk. It's the latest type from Camera Equipment Co., 1600 Broadway, New York City. Tel. Circle 6-5080 Cable: Cinequip.\n\n\u2022 American Cinematographer 141\n\nGE develops process to remove glare from glass\n\nGlare from reflected light, which has made it difficult to see pictures framed under glass at certain angles, has been removed by a new process developed in General Electric\u2019s research laboratory by Dr. Katharine Blodgett. By applying thin chemical films to the surface of glass, Dr. Blodgett has been able to neutralize or nullify rebounding light rays. As a result, pictures framed with glass so treated appear as though there is no glass at all, regardless of the angle viewed from.\n\nThe same is true with clock faces, showcases, display windows\u2014in fact, any place where glare is caused by light reflections on glass.\nThe refractive index of any glass is easily determined. This known, the process consists of building or attaching to the glass a very thin transparent film of about four millionths of an inch, or exactly one quarter wave length of light, in thickness. As light falls upon the film, rays are reflected from both the upper and lower surfaces. With the film exactly one-quarter wave length in thickness, those rays coming from the outer or upper surface are equal in intensity and opposite in phase to those reflected from the lower surface, thus counteracting one another and no light is reflected.\n\nThe process is still in a laboratory stage, Dr. Blodgett explained. At present, it has not reached such a stage that it can be offered to the public. However, we are hopeful that we may soon do so.\n\nGlass is treated by dipping it into a solution.\nA tank contains a liquid with a one-molecule-thick film of insoluble soap on its surface. As the glass is pushed down, one layer of the film becomes attached, and as it is pulled up, another is applied. Each immersion adds two layers of the film, each one molecule thick. The dippings continue until about 44 layers are built up, forming a thickness of one-quarter wave length, or about four millionths of an inch. We can measure the exact thickness of the film at any time, despite it being thinner than any known substance today, by an optical process.\n\nThe non-glare treatment of glass also holds promise for widespread application in the fields of camera, telescope, and all other type lenses, Dr. Blodgett noted. It is commonly known that reflection from the surface causes glare.\nWith any lens, there is a loss of 4 to 5 percent in transmitted light for both front and back surfaces, resulting in a minimum loss of 8 percent per lens. For some better type cameras using three or four lenses, the light loss reaching the plate or negative is 25 to 35 percent. With telescopes and submarine periscopes, where a larger number of lenses and prisms are used, the light loss is classified.\n\nFormer director of G-E research, Dr. W. R. Whitney, is depicted in a picture with part of the glass treated to prevent glare.\n\nMOTION PICTURE CAMERA SUPPLY, INC.\n1939 Bulletin on Used and Rebuilt equipment just out. Write for your free copy!\n723 Seventh Avenue, New York City\nCable Address: Cinecamera\nThe World's Largest Variety of Studio and Laboratory equipment with the latest.\nImprovements as used in Hollywood at tremendous savings. New and used. Mitchell, Bell-hcwell, Akeley, De Brie, Eyemo, animation process cameras, lenses, color magazines, adaptors, lighting equipment, silencing blimps, dollies, printers, splicers, moviolas, motors, light-testers, gear boxes, synchronizers. Guaranteed optically and mechanically perfect. Send for bargain catalog.\n\nHollywood Camera Exchange\n1600 Cahuenga Blvd. Hollywood, Calif.\nCable : Hocamex\n\nBell and Howell 170\u00b0 Cameras \u2014 High speed shuttles \u2014 high speed gear boxes \u2014 400 and 1000 foot Bell & Howell magazines \u2014 Bell & Howell tripods \u2014 motors. Mitchell silenced cameras. Akeley and De Brie Cameras. Akeley motors. High speed motors. Sunshades, lenses, and finders.\n\nWrite or Wire\nCamera Equipment Company\n1600 Broadway New York City\nTel. Circle 6-5080 Cable : Cinequip\n\nWe buy, sell and rent professional equipment.\nAND 16mm Equipment, new and used. We are distributors for all leading manufacturers. Ruby Camera Exchange, 729 Seventh Ave., New York City. Established since 1910.\n\nLight transmission in periscopes can be as much as 75 percent greater. In some film treated lenses, it would transmit 100 percent of the light. With an actual test in the laboratory, a piece of glass was treated and increased the light transmission from 92 percent to 99.2 percent.\n\nSound and Color on 16mm. A very recent addition to the Bell & Howell sound film library is a film which marks a long-sought milestone in 16mm film history. It is the first direct reduction by Technicolor of a major Hollywood cartoon production. The first release is \u201cJolly Little Elves,\u201d the charming fairy-tale of the poor cobbler.\nWho befriended a hungry elf and was repaid by the nocturnal labors of the whole elfin clan until fame and wealth were his.\n\nOther titles in the series include \u201cCandyland,\u201d \u201cFox and Rabbit,\u201d \u201cSpringtime Serenade,\u201d \u201cThree Lazy Mice,\u201d and \u201cToyland Premiere.\u201d All are Universal releases, exclusively distributed in 16mm by the Filmosound Library.\n\nApproximately 205 motion picture theaters in Peru, all of which are reported to be wired for sound with the exception of about 25 small theaters situated in remote sections of the provinces, according to a report to the Department of Commerce.\n\nPractically all motion picture theaters located in the Lima-Callao district and in the other commercial centers of the Republic are equipped with two projectors.\n\nADVERTISING: NEW PRECISION TEST REEL FOR PROJECTION and Sound. Developed by prominent SMPE.\nmember: Combination of visual, sound tests for all soundtrack adjustments. Indicates travel ghost, sidesway, picture jump, etc. Contains visual targets and constant level frequencies. WE Mirrophonic recording. Truly simplified, easily understood. Comparative value: $75.00. With full instructions: $29.50. 16mm WESTERN ELECTRIC INTERLOCK MOTOR mounted on door for Mitchell Standard Camera.\n\nCamera Equipment Company\n1600 Broadway New York City\nTel. Circle 6-5080 Cable: Cinequip\n\nFOR SALE\u2014 LATEST STYLE STUDIO equipment: Iraby) turnable dolly complete with geared head and blimp, as good as new. Contact Albert Rogers, Century 29157, 938 E. 60th St., Los Angeles.\n\nWANTED\nWE Pay cash for everything photo-graphic. Write us today. Hollywood Camera Exchange. 1600 Cahuenga Blvd., Hollywood.\n\nWANTED TO BUY FOR CASH\nCAMERAS AND ACCESSORIES\nMITCHELL, B & H. EYEMO, DEBrie. AKELEY.\nCamera Equipment Company, 1600 Broadway, New York City\n\nCABLE: CINEQUIP, American Cinematographer\n\nPrecision-made by Bell & Howell\n\nFilmo \"Sportster\" camera, speeds 16, 32, 48, 64, streamlined housing like Turret 8, automatically resets film footage dial, Taylor-Hobson F 2.5 lens. $75\n\nFilmo 8mm projector. To see your 8mm films at their best, you need this projector. Screen pictures are rock-steady due to camera-matched film-registering mechanism, brilliantly illuminated by the 400- or 500-watt lamp and efficient direct optical system. Silent drive, power film rewind, \u201cfloating film\u201d protection, metered lubrication, separate lamp switch, and clutch for still projection are among other valued features. With case. $118\n\nLow-cost Filmounds for Talking Pictures in Your Home. Let your family enjoy sound movies at home!\nThis new recreation is within your reach! Filmosound Projectors, although improved, are now priced lower than ever before. You can rent your choice of thousands of fine sound films - late Hollywood feature pictures, newsreels, cartoons, comedies, travelogs. Send coupon for list of Filmosound Library films.\n\nFilmosound \u201cAcademy,\u201d projects both the sound films you rent and your own silent 16 mm. films. Ideal for home, with a brilliant 750-watt lamp, powerful amplifier, and 1600-foot film capacity. Now priced at only $298.\n\nBell & Howell Company, Chicago; New York; Hollywood; London. Established 1907.\n\nExtra Lenses for Filmo 8\u2019s\nTaylor-Hobson Lenses\n* 1/2\" Fl.4 focusing, 76-50 l\" Fl.5 focusing, $76-50\nBell & Howell Lenses\n* For single-lens Filmo 8\u2019s only \u2014 not available for Turret 8.\n\nMail coupon for information on all equipment.\nI Bell & Howell Company >c 3-3\n1848 Larchmont Ave, Chicago, Illinois\n\nDetails on: Filmo 8 mm Cameras, Filmo Turret 8, 8 mm Projectors, Filmosound 16 mm Projectors, New list of sound films for home use.\n\nName .\nAddress .\nCity . State .\n\nFilmo 8's with single lens seat (left). Scarcely larger than the palm of your hand. Weighs only 24 ounces. Easy to load \u2014 film literally drops into place. Built with Bell & Howell precision to take the finest 8 mm movies, in color or black-and-white. Provides four operating speeds and single-frame exposure device, instant lens interchangeability, viewfinder masks matching telephoto lenses, and built-in exposure calculator.\n\nFilmo \u201cCompanion,\u201d illustrated above. New Filmo Turret 8. Combines the economy of 8 mm film with complete readiness for all picture opportunities. Mounts your choice of three 'lenses.\nMatching viewfinders on the turret. Has a positive-type finder, magnifying critical focus, and single-frame exposure button. Speeds: 16, 32, 48, and 64 frames per second and Taylor-Hobson 12l/2 mm F 2.5.\n\nFor the cameraman\u2019s convenience, the New Mitchell Studio Camera includes all of the well-known Mitchell features plus an automatic focusing and parallax adjusting finder, which operates in conjunction with the focus of the lens, a single lens mount, and outside controls for the built-in features.\n\nMitchell Camera Corporation\n665 North Robertson Boulevard\nWest Hollywood, CA\nCable Address \"MITCAMCO\u201d phone Oxfor{J |Q5|\nBell & Howell, Ltd., London, England\nClaud C. Carter, Sydney, Australia\nD. Nagase & Co., Ltd., Osaka, Japan\n\nAgencies:\nMotion Picture Camera Supply Co., New York City\nBombay Radio Co., Ltd., Bombay, India\nH. Nassibian, Cairo, Egypt\n\nApril\nForeign 35c\nPublished in Hollywood by American Society of Cinematographers\n\nGlennon's \"Stagecoach\" Takes Poll\nA.S.C. Men Discuss Meters\nFilming Aloft: Minicam or Movie\n\nSprungman\nMegaphone and Camera: Two Jobs\nGarmes\nParkers Sail Around South America\nBlaisdell\nLamp Trouble Chaser\nDe Vinnia\nClardy Makes 8mm Talkie\nStull\n\"Juarez\" is a Great Picture\njaudio Declines Honor\nDeanna Durbin in U's \"Three Smart Girls\"\n\nTo be truly versatile, a negative film must have speed, fine grain, and wide latitude.\n-Actual experience establishes that Du Pont Superior Pan effectively combines these qualities. They make this film the natural choice for good pictures.\n\nDu Pont Film Manufacturing Corporation INCORPORATED\n9 Rockefeller Plaza SMITH &. ALLER, LTD.\nNew York - N.Y. 6656 Santa Monica Blvd.\nPlant \u2022 Parlin, N.J. Hollywood \u2022 \u2022 \u2666 California\nBetter Than Qs for Better Living through Chemistry\nThe new Eyemo is a hand-held camera that offers the functionality of multiple cameras. It can be used as a portable hand-held camera for quick shooting situations where large cameras are impractical. The same Eyemo can be equipped with features of Bell & Howell studio cameras to master various photographic conditions. It can be stripped down to hand-camera form in an instant if required. The basic Eyemo mounts three lenses on a turret head, offering your choice of two turrets. The enclosed spyglass viewfinder is quickly adjusted for six different field areas. Focusing and diaphragm controls are visible through the finder, allowing manipulation even while shooting. S.M.P.E. standard sound aperture and matched.\nviewfinder are standard equipment on all turret models. Sound, silent, and other operating speeds are provided, with ranges varying with the selected model. The improved vibrationless governor assures accurate speeds from the first to the last foot of film. A hand crank, supplementing the spring motor, is regular equipment. An electric motor \u2013 universal, 1.2-volt, or synchronous \u2013 can be added at any time, as can provision for 200- or 400-foot external film magazines, a prismatic focusing magnifier, and a focusing alignment gauge to permit focusing and lens placement successively in the photographic position \u2013 all this while retaining the convenience of having a hand camera to use when simplicity is required. There are special Eyemos for candid action still pictures and other exacting jobs. Write for complete information.\n\nBell & Howell Company.\nApril 1939, American Cinematographer 14\n\nBetty Davis in Warner's \"Juarez\"\n\nThe Cover\n\nHere is the rehearsal of a scene for Universal's \"Three Smart Girls Grow Up.\" At the center left, standing just under a lamp, is Cameraman Joseph Valentine, A.S.C., in light clothes. In front of him, in dark clothes and wearing glasses, is Director Henry Koster. At the right in front is Deanna Durbin and Douglas Wood, encircled by a huge loop which prevents interference by other dancers.\n\nAmerican Cinematographer\nA Technical and Educational Publication on Motion Picture Photography.\nPublished monthly by the American Society of Cinematographers, Inc.\n1782 North Orange Drive, Hollywood, California\nBert Glennon, A.S.C. wins camera honors in Wanger\u2019s \"Stagecoach\".\nA.S.C. men discuss meters.\nFilming Aloft: with minicam or movie. by Ormal I. Sprungman\nFilm industry in India holds April convention.\nCan\u2019t combine jobs of director and cameraman, says Garmes.\nThe Parkers with cameras sail around South America.\nGooseneck blimp lamp real trouble chaser. by Clyde De Vinna, A.S.C.\nRandolph Clardy makes first 8mm. talker.\nOne B&H model replaces three 16mm. projectors.\n\"Juarez\" declared really great picture.\nGaudio declines honors bestowed by Italian Government.\nFilmoarc Projector lifts 16mm. to 35mm.\nPhotographer turns to television. by Richard H. Lyford\n[1938: Setting the Winners to Music. Part II.\n\"The Wrong Hat,\" a script.\nBy Cinemaker\nB-M Lights enter the field of color photographs.\nAgfa\u2019s Memo Camera in dealers' hands.\nThree-Way microphone announced by RCA.\nPhiladelphia Cinema holds third annual banquet.\nBy R. N. Levene\nNew Publications:\n- Cinecolor formally opens big new plant.\n- Spyros Skouras opens U. S. C.\u2019s second semester.\nBy Jack V. Wood, S.A.C.\nThe Staff:\nEDITOR: George Blaisdell\nCIRCULATION MANAGER: L. F. Graham\nWASHINGTON STAFF CORRESPONDENT: Reed N. Haythorne, A.S.C.\nNEW YORK REPRESENTATIVE: S. R. Cowan, 19 East 47th St., New York. Phone: Plaza 3-0483.\nFOREIGN REPRESENTATIVE: Georges Benoit, 100 Allee Franklin, Pavillons-sous-Bois, Seine, France. Telephone: LeRaincy 13-19.\nAUSTRALIAN REPRESENTATIVE: McGill\u2019s, 179 Elizabeth Street, Melbourne, Australian and New Zealand Agents.]\n[1939] \"Glennon's 'Stagecoach'\n\nESTABlished 1920. Advertising rates on application. Subscription: United States $2.50 a year; Canada and the Pan-American Union, $2.50 a year; Foreign, $3.50 a year. Single copies, 25 cents; back numbers, $1.30; foreign, single copies, 35 cents; back numbers, 40 cents.\n\nCOPYRIGHT 1939 by American Society of Cinematographers, Inc.\n\nEntered as second class matter November 18, 1937, at the postoffice at Los Angeles, California, under the Act of March 3, 1879.\n\nTechnical Editor: Emery Huse, A.S.C.\nAdvisory Editorial Board: Victor Milner, A.S.C.; James Van Trees, A.S.C.; Fred W. Jackman, A.S.C.; Farciot Edouart, A.S.C.; Fred Gage, A.S.C.; Dr. Herbert Meyer, A.S.C.\n\n148 American Cinematographer \u2022 April\"\nWins in the Camera Honors:\nBert Glennon won the photographic honors for Walter Wanger's \"Stagecoach\" in the Hollywood Reporter's correspondents' poll for February. His margin was more than 2 to 1, notable due to the second place being a color picture photographed by top men.\n\"Stagecoach\" made a remarkable record in the competition, scoring seven of the ten first places for which it was eligible. These were for Best Picture, Best Director (John Ford), Best Screenplay (Dudley Nichols), Best Supporting Actor (Thomas Mitchell), Best Incident Performance (Donald Meek), Best Cinematography (Bert Glennon), and Best Musical Score (Richard Hageman, Frank Harling, John Leipold, and Leo Shuken).\n\"Stagecoach\" is one of those rare productions where the action flows so smoothly that at the end, one is left with a feeling of complete satisfaction.\nThe average viewer is likely to register the impression, either verbally or mentally, \"It seems perfect: 100 percent.\" It had a story, beautifully told and directed, and played and photographed. It had humor and humanity, romance and suspense. Speaking of suspense, the direction was reminiscent of Dave Griffith's work in the one and two reel Biographs as well as in later features; but suspense that was genuine twenty-five or thirty years ago, and in which field of controlled screen drama it is doubtful if it has advanced appreciably today. John Ford has the courage \u2014 and the skill \u2014 to stop physical action and give mental action a chance. Thrill in Opening Although it was a week ago to a day, this writer sat under the spell of \"Stagecoach\" and other pictures have been seen in the intervening days, but the memory of \"Stagecoach\" remains.\nThe opening long shots of sky, mountain, and cloud in the film retain the thrill that accompanied their appearance. The ticket holder need not be a picture maker to be captivated by the man creating such a scene. The subject's interest was established at the film's beginning. Even if the subject proved to be mediocre, it would get by. However, there was no letdown in any department. Bert Glennon and his camera crew led the way in front, making it a picture worth seeing and appreciating, especially for those with a photographic mind. The play's period is in the eighties, its duration is forty-eight hours, and it is staged in what must be a large setting.\nOne of the most picturesque spots in the United States, particularly in those exposed in Monument Valley, Arizona. Locations were also selected in Kayenta and Mesa. In reach of Hollywood were sites in Kernville, not 200 miles away; Dry Lake, Fremont Pass, Victorville, Calabasas and Chatsworth.\n\nThe making and success of the picture demonstrate that the Western subject is still secure fundamentally in the minds of picturegoers. That too is the voice of experience. Periodically we are told that Westerns are on the wane, that the public is fed up on the type. And just about as that time arrives, also there comes along some production that in conception and execution matches the rarely beautiful scenes in \"Stagecoach.\"\n\nAndy Devine is in the driver's seat, with George Bancroft beside him. John Wayne is shown at the rear.\nApril, 1939 \u2022 American Cinematographer 149\n\nThe best theme and treatment have been achieved in all the fields of screen work in this genre.\n\nWestern Revival\nDespite being erroneously declared obsolete just before the release of \"The Covered Wagon,\" the Western remained in demand. It ran for over a year in a small Broadway theater in New York City. Once again, the Western was relevant.\n\nThroughout the intervening years, this pattern repeated itself. However, exceptional stories about pioneer life continued to emerge, offering authentic portrayals rather than artificial ones. These tales depicted the lives of men and women enduring hardships so that their children could enjoy easier lives.\n\nIn these films, the photographer played a crucial role\u2014contributing to the painting of the genre.\nThe open life's glories have softened the West's hardness, revealing its beauties and idealizing the vastness and emptiness of the great open spaces. Delighting the city dweller who only sees brick and stone and cement day in and day out. A few months ago, this magazine printed a story of an interview with Bert Glennon about the picture we're now discussing. At one point, the interviewer noted that in the sets he had seen made for \"Stagecoach,\" they all had ceilings. The cameraman replied that was true and a break from the conventional, but necessary because the sets were low, and a certain reality of perspective is obtained by using the 25mm. lens.\nIn order to follow the photographic idea of \"reproducing the method of lighting as used in the Sargent paintings of the early West,\" the elimination of conventional backlight or \"Hollywood halo\" was necessary. It was quite difficult to obtain roundness of image without the use of backlight, but its use was limited to when it was the source of light. Glennon replied that having a photographic idea to follow when lighting a motion picture story depended on circumstances. If production warranted, it was adhered to religiously. However, if production was held to a tight schedule, a formula had to be used.\nFor his photography on \"Lloyds of London,\" Glennon explained that this period picture with its costumes and old painting settings was photographed to create the idea of mellowness and texture throughout. The Royal Photographic Society of Great Britain awarded him an associateship for his work on this picture.\n\nIn \"The Prisoner of Shark Island,\" also of Twentieth Century-Fox, the effect of steel etching was strived for in all scenes, especially in close-ups. This effect was secured by the use of blue light.\n\n\"Hurricane,\" a Goldwyn subject, was a deliberate attempt to feature sound, music, and photography \u2014 a cooperative determination to coordinate these three elements to produce a definite emotional effect upon the audience.\n\nReturning to \"Stagecoach,\" it may be said in all truth it is a production of exceptional merit.\nWhich will lure its first patrons for a second visit. For a second and third visit will be necessary before any average or even peculiarly gifted person out front will be able to absorb all the features of which it is made \u2014 and which make it great.\n\nIt is a three-way picture \u2014 in writing, direction, and photography. Starting with those three blessings, the division of acting need give no concern. For, again, quoting a remark confided long ago by Daniel Frohman, \u201cNo great actor was ever made except in a great part.\u201d\n\nGreat parts there are in \u201cStagecoach\u201d \u2014 and they are carried by Claire Trevor, John Wayne, Andy Devine, John Carradine, Thomas Mitchell, Louise Platt, George Bancroft, Donald Meek, Burton Churchill, Yakima Canutt (in a most hazardous double), Tom Tyler, and the many horsemen who performed boldly and casually the most hair-raising stunts.\nDirector John Ford looks over a scene for Walter Wanger's \"Stagecoach\" with cinematographer Bert Glennon verifying camera position, hatless and in light suit. The shot was made on location in Arizona for the sociological depiction of the stagecoach in settling the west.\n\n150 American Cinematographer \u2022 April, 1939\nA.S.C. Men Turn Out\n\nDiscussed: Are today's photoelectric exposure meters suitable for studio use? In what respects should they be improved? How can meters be used best?\n\nThese questions were discussed at the February meeting of the American Society of Cinematographers under the chairmanship of Past President Daniel B. Clark. The increasing professional interest in such meters and their use was indicated by the largest attendance.\nRecorded at one of the society's meetings in over five years. The keynote was struck by Chairman Clark, who opened the meeting with a demonstration of the methods and equipment used for coordinating meters at Twentieth Century-Fox studio. \"During the past year,\" he said, \"there has been a great deal of informal discussion about meters and the best way to use them. Such informal arguments across a lunch table can only be helpful to the two or three men who participate in them: they don't help any of the scores of other members of the profession who aren't at that table. Yet virtually all of us have been giving a lot of thought to meters and their use. \"Tonight's meeting is an attempt to bring that thought\u2014pro and con\u2014out into the open, where it can do some practical good to the industry. We have an unusual opportunity tonight not only to discuss the issue but also to hear from experts in the field.\"\nThe directors of photography aim to formulate a collective opinion on the subject, learn from each other, and gain practical facts about different meter methods and available types. All should benefit.\n\nAs members of the American Society of Cinematographers, we are recognized globally as outstanding motion picture photographers. Some of our guests include lab heads and technical experts processing our film, as well as representatives from leading photoelectric meter manufacturers. We can all benefit from a mutual discussion on this important subject.\n\nFor my part, I take the floor only because someone must start. I recognize the limitations of my own small experience.\nThe use of a meter need not restrict individuality among cinematographers or force us into a standardized method of working. Intelligent use of these devices can alleviate routine, mechanical concerns, allowing us more freedom to express photographic artistry. A meter's guidance keeps our work within mechanical film-speed and processing limits, simplifying efforts to maintain consistent exposure levels or negative densities from day to day. Normalcy is important.\n\"Between changes in negative development and the wide range of printing light adjustments, we have a considerable amount of potential control over our work. However, we all realize that for a really faithful reproduction of what the camera sees, normal development of the negative and normal printing of the positive are necessary. Contrast can be visually deceptive \u2014 the white centers of all three circles are the same shade, but contrast between this white and the black, dark gray and light gray surrounding circles makes the center of the black circle look whitest. To maintain this normalcy, normal exposure values are equally necessary. The way most of us now work is to make the 'key light' the keynote of the lighting and exposure of every scene. All the rest of the lighting is balanced in relation to this, to produce the desired effect.\"\nShadows, highlights and halftones. The exact way these gradations are balanced constitutes the artistic stock-in-trade of each individual.\n\n\"If the key light is incorrect \u2014 above or below normal \u2014 the rest of the lighting will be similarly off key, and the result on the screen will not be the normal reproduction the cinematographer is after.\n\n\"Under modern conditions, with today's fast films and low lighting levels, it is terribly easy to make such slight errors. Even a little eye fatigue \u2014 such as we may get without realizing it, from an overlong glance directly at a single strong light \u2014 can do it.\n\n\"The meter gives us a chance to peg this key light to an accurately measured normal standard, from which we can balance the rest of the lighting visually, confident that we are working from a normal start.\n\n\"The same method can be used on sets.\"\nExteriors require reversing our interior lighting technique. The strong and uncontrollable background illumination becomes our key light, and we must balance the actors' lighting to it. In other words, outdoors we have to reverse our meter technique, taking a reflected light reading of the background and considering it as the key light. We visually balance the light on the actors to it.\n\nTesting Meters\n\nClark demonstrated the methods of testing meters used at Twentieth Century-Fox studio. In this process, the meters are tested daily against a standard light-source in a portable testing-box. With the light brought to a known intensity by means of a rheostat and ammeter, the meter, if in normal condition, should give a predetermined reading.\n\nAmong the conditions most notable in testing meters is their sensitivity to temperature and humidity. The meters must be protected from extreme temperatures and moisture to ensure accurate readings. Additionally, the batteries must be kept fresh to maintain the meters' performance.\nClark mentioned that changes in humidity affected the accuracy of the meters in his studio. During a period of unusually low humidity, all meters gave uniformly low readings. In contrast, on a trip to the South Seas, Clark found his own meter reading abnormally high. Representatives from the General Electric and Weston organizations stated that meter cells are affected by changing humidity, but great care is now being taken to ensure that the cells are hermetically sealed against such conditions. Clark described tests that proved measuring key light with an accurate meter allowed cinematographers to predict with nearly perfect accuracy the printer-light upon which their scene would print. This would eliminate much guesswork in print-timing. Visual contrast could be deceptive.\nIn visual print timing, he stated, visual contrast can often be deceptive, as shown by the accompanying chart, where the centers of each of the three circles are of the same pure white, but surrounded by circles of varied densities, which make the white areas appear different. The same optical illusion is noticeable in visual inspection of negatives of varying contrast, and can introduce errors in print timing. If, by means of a meter, exposure values can be fixed at a normal standard with such accuracy that all normal scenes can be expected to print within a range of two or three printer lights, as had been found practical in his studio, this visual timing error would not be so dangerous. Several other speakers pointed out that reading a meter only on the key light gives no indication of visual contrast, which can be a vital factor in print timing.\nThe key light illuminating a player in a white costume may be correct in itself, but overall exposure values and lighting balance will inevitably vary according to the player being photographed in front of a dark, light, or intermediate toned background. Since this is the case, would not a reflection-reading meter, capable of measuring these visual contrasts, be the more accurate instrument?\n\nReflection-reading instrument preferred for exterior use\nIt was also pointed out that a reflection-reading instrument seemed preferable for exterior use, as the problem there was generally one of balancing shadow lighting, in the form of either reflected natural light or artificial light, to form an acceptable balance with intense direct natural light which cannot be controlled except over relatively small areas.\n\nSeveral Technicolor cinematographers and technicians spoke of the Technicolor methods.\ntechnique for using meters. On interiors, a special direct-reading meter is employed, measuring the highlight side and shadow side illumination falling on the subject. On exterior scenes, a reflection-type meter is used for measurements of overall reflected light. In any event, the meters are used as a guide to the individual cinematographer's judgment.\n\nHugh Herbert: Much Ado About Talking Birds\n\nHugh Herbert expressed this emphatic opinion when an impudent poll parrot stole his famous \"Woo-Woo\" phrase and used it to mock the comedian in a movie scene.\n\nHerbert was on location in the Los Angeles residential district with a Universal company filming \"The Family Next Door.\" Several times during the morning, a parrot in a nearby yard disrupted the shoot.\nThe players were disturbed by constant chattering. A property man was sent to ask the pet's owner to keep him quiet. Then, Herbert went into a scene where he was handed a traffic ticket by a police officer.\n\n\"Oh, a ticket,\" exclaimed the comic.\n\n\"Woo-Woo!\", the parrot gleefully.\n\n\"Woo-Woo yourself,\" roared Herbert. \"That's my line, and it's copyrighted. Please have someone take that parrot aside and tell him to lay off.\"\n\nThe instructions need not be followed rigidly and can be disregarded at the cinematographer's discretion. The use of the meter, however, was agreed to be of great value in speeding up the routine of lighting and in simplifying the task of maintaining consistently correct exposure values.\n\nBoth the chairman and several who spoke from the floor stressed one weakness of all meters now available: it is too easy for a cinematographer to manipulate.\nto  misinterpret  meter  readings \u2014 to  make \nan  incorrect  reading,  or  to  deliberately \nmake  the  meter  read  what  he  thinks  is \ncorrect. \nWith  reflection  type  meters  a  slight  al\u00ac \nteration  in  the  angle  at  which  the  meter \nis  held,  allowing  its  cell  to  scan  more \nor  less  of  the  sky  on  exteriors,  or  of \nthe  back  lighting  on  interiors,  can  in\u00ac \ntentionally  or  unintentionally  introduce \nfalse  readings. \nWith  direct  reading  meters,  a  few \ninches\u2019  difference  in  the  position  of  the \nmeter  relative  to  light  source  and  sub\u00ac \nject  can,  as  was  proved  by  impromptu \nexperiments  made  during  the  discussion, \nchange  the  reading  by  several  printer \nlights. \nSeid  Makes  Suggestion \nTo  this  end,  the  suggestion  of  George \nSeid,  chief  of  the  Columbia  Studio \nlaboratory,  was  received  with  acclaim.  He \nstated  that  from  experiments  conducted \nat  his  studio  over  a  period  of  nearly  a \nyear  the  ideal  meter  would  be  one \nSuch a meter should read light from the camera position, preferably through the actual optical system of the camera. This type of meter would necessarily be extremely selective, capable of being trained on minute areas of the camera's image. The actinic value of any desired area \u2013 highlight, halftone, shadow, key light, filler light or back light \u2013 could be read directly in terms of density or negative values.\n\nWith such a system, it was agreed, the majority of variables would be eliminated. Only the light actually making the exposure would be measured. No variations in meter placement could enter the problem or cause errors. Lighting and tonal contrasts could be measured with uniform accuracy, both individually and in their overall effect upon the picture.\n\nIn addition, such a device would make possible several things difficult or impossible with current methods.\nAmong the problems with present meters, accurate measurement of lighting in all types of dolly or boom shots would be possible. Last-minute checks on lighting and exposure could be done immediately before starting a take. Such readings could be taken at any time with less disturbance to cast and director than is currently possible. The development of such a meter would be of great benefit to cinematography. (See article by Mr. Clark, American Cinematographer, January, 1939, pp.6-7)\n\nFilming Aloft: With Minicam or Movie\nBy Ormal I. Sprungman\n\nFiltered clouds always add interest to airplane shots. These pontooned ships are shown on the chalky Tanana river at Fairbanks, Alaska.\n\nCandid shots are fetched earthward through inch-thick goggles while zooming along at two miles a minute.\nA half mile up, provides a dizzy thrill not usually found in more somber types of shooting. Once limited to mapmakers utilizing costly cameras and huge negatives, aerial photography has finally become another lens-clicking novelty for the cameraman-of-the-street.\n\nToday, with comfortable, low cost air transportation, any minicam having a fast lens and offering multiple exposures can find fresh camera angles and new subjects up under the clouds.\n\nBecause of its inconspicuous size and weight and great depth of focus, the minicam is particularly suited for aerial assignments. It can be swung to eye level position speedily, and manipulated with ease even in cramped quarters.\n\nAnother advantage is that most minicams spool film rolls permitting up to 36 exposures on a single change, thus preventing loss of valuable picture-making moments while engaged in switching.\nAirports are naturals for excitingly good candid snaps. Make a list of all picture possibilities from the ground, taking note of lighting at different times during the day. You might start with a longshot of the layout itself, swinging in for closer views of the various buildings, planes, and informal closeups of local pilots. Wherever possible, secure unusual effects by \u201cframing\u201d your shots. Step well inside of a hangar and frame a shot through the opening showing airplanes grounded on the outside lot. A group of two or three pilots silhouetted while chinning in the doorway will add a human interest touch. Window-framing is likewise striking. Better still, take a low position beside a silver-winged plane and shoot in such a way that it appears to be framed by the window.\nFraming is useful in framing another plane, probably warming up in the background. The wing, nose, or prop can be composed to darken one side of the picture to maintain proper balance.\n\nLeash on Wrist.\n\nFraming is also useful when filming from the air. An occasional glimpse through the right or left wing gives depth to distant ground views. Some photographers, however, prefer not to include any part of the plane in their shots since they feel that the foreground will be out of focus and spoil an otherwise well-detailed picture.\n\nDespite the haze, which is a bugaboo of air filming, note the effectiveness of using the wing as a \u201cframe\u201d for a distant shot of the ribbon-like Alaska stream.\n\nThe tendency for close objects to appear indistinct when viewing distant objects is natural for human eyes, and any variation from this will appear artificial.\nA small lens opening in bright sunlight helps eliminate much of the fuzziness of near objects when focus is set at infinity. When filming from open cockpit planes, a camera leash around your wrist prevents your outfit from slipping during picture taking. Make a leash with a cloth cord or a length of rawhide slipped through the camera handle or a small hole drilled in a tripod screw inserted in the base. Helmets and goggles are worn when riding in open cockpit planes. Goggles may interffe with sighting through the camera viewfinder at first, but this difficulty is easily overcome through continued practice. With the wind roaring by and the prop splitting your ear drums, such filming provides more fun than a comfortable ride in a cabin ship.\nFrom transport planes, there's always the danger of the sun striking the window through which you shoot, causing bad reflections. Hence, it's always advisable to find out beforehand which way the pilot plans to point the nose, so that the proper position may be taken for filming on the shaded side. As a further precaution, be sure that your window is polished brightly both inside and out.\n\nWhat to Avoid\n\nExposures differ according to available light and the color of the objects being photographed, ranging from f/4.5 to f/8 with supersensitive film at a shutter speed of 1/100 to 1/300 of a second, depending upon elevation and speed of travel.\n\nFilters are often quite necessary for air filming. The infra-red, green, and K-2 filters are most popular.\n\nWhen riding in open cockpit planes, use filters.\nA leash to secure camera to wrist and prevent accidental dropping. Generally, amateurs should not attempt air shots when the sky is too hazy, as results are rarely satisfactory. With the camera set at infinity and the shutter speed corrected, the only change needed is in the lens opening, responding to changing light conditions. Filming at noon when light strikes objects flatly produces uninteresting results. Early morning or afternoon flying presents detailed ground views with shadows to give distant scenes a natural third dimension. If a lens hood is not available for your camera, every effort should be made to shade the outfit to prevent light from hitting the lens and creating those bugaboo \u201cghosts.\u201d Reeling off movie film up under the clouds is no great chore either, as present-day 8mm. and 16mm. cameras are made to order for aerophotography.\nSome excursion flights are timed for camera fans to take advantage of filming opportunities. At West Yellowstone, for instance, a ten-passenger Western Air Express transport takes off each summer weekend for a 150-mile flight over geyser-land, perfectly timed to reach Old Faithful during its hourly eruption and to circle the geyser basins, the canyon, and the Tetons for angle shots.\n\nBut Not in Midday\n\nUsually, such flights over mountain country are made for safety's sake in early morning or late afternoon when the weather is less bumpy. Similar flights are scheduled elsewhere, and the moviemaker who goes aloft can bring to earth exciting footage.\n\nBecause air time passes rapidly, load your camera with a fresh roll of film. If the footage is consumed before the flight is over, change rolls quickly without wasting time, and plan the shots accordingly.\nWhile flying through less interesting country, shift over to capture scenes of grounded planes. Unless you have chartered your own Wheel plane, act fast to capture each scene. As in minicam filming, precautions must be taken when cine filming. Strap the camera to your wrist or use a leash if filming from an open plane. Your focus will be set permanently at infinity, but watch your f/openings. When shooting distant objects, you will not be bothered by plane speed, but may encounter considerable engine vibration. Consequently, do not hold the camera against any part of the plane. Instead, cushion it with your hand to absorb some of the shock. The proper camera angle is very important in air cinematics. While the vertical or horizontal view produces effective framing, consider experimenting with oblique angles for added visual interest.\nThe oblique picture is the most pleasing and least fatiguing angle for filming, favored by commercial air photographers. Vertical shots are best for mapmakers. Shots taken from too high an elevation lack detail and movement, while those closer to the ground have vitality. Infra-red film helps combat haze for the still camera enthusiast, but the moviemaker must use panchromatic film and a strong yellow filter or haze filter for Kodachrome. It is understood that haze filters for black and white stock cannot be used with color film, resulting in disastrous results. What type of continuity can be planned for an air film? If your city has a large airport, befriend officials and several pilots.\nAnd shoot a day in the life of the Smithville Airport. Open with a close-up angle shot of the airport sign, then pan slowly down to a long shot of the airport and landing field.\n\nIt's early morning. Take a few scenes of the buildings and wind up with a close-up of the weather forecast sheet being tacked on the bulletin board. Dissolve into a medium shot of the \"sock\" waving idly in the breeze. Soon there is plenty of activity. A hangar is opened and a plane is wheeled out. Get shots of the tune-up and the final spin of the prop. Show the takeoff, and other planes coming in, and use your telephoto to secure close-ups of air-minded bigwigs as they arrive or embark.\n\nShoot Weather Bureau.\nIf permission is granted, set up your photofloods in the airport office and shoot the weather bureau in action. For a fade-in, have a pilot with his back against your lens, suddenly walk away towards his plane. Start the camera motor before he moves, and the fade-in will be unique. Long shots may be needed for certain scenes, but it\u2019s the close-up that really counts. Show close-ups of feet walking over the field or plane wheels spinning in the dust. Perhaps your most artistically composed scenes will be captured at dusk and later when the airport floodlights provide unbelievable effects. Finally, capture a spotlighted plane being wheeled back into the hangar for the night.\n\nAmerican films had familiarized India with the idea of the moving picture much more than twenty-five years ago. (BOMBAY, February 21)\nBut  this  fact  did  not  detract  from  the \nsurprise  and  the  pleasure  with  which \nthe  first  Indian  picture  was  greeted  on \nits  release  in  1913.  The  higher  classes \nwere  interested  in  American  and  Brit\u00ac \nish  films,  but  here  was  something  which \nthey  could  treat  more  particularly  as \ntheir  own. \nTo  the  illiterate  millions  Indian  movies \nprovided  the  miracle  of  their  ancient \ngods  coming  to  life  and  working  those \nwonders,  stories  of  which  had  been \npassed  from  father  to  son  for  uncount\u00ac \ned  generations. \nThe  production  of  moving  pictures \nsoon  became  an  important  activity  in \nthe  three  greatest  cities  in  India,  Bom\u00ac \nbay,  Calcutta  and  Madras.  It  has  pro\u00ac \ngressed  to  such  an  extent  that  today \nit  occupies  the  eighth  place  among  the \nmajor  industries  of  the  country. \npanoram  up  to  the  dimly  illuminated \nairport  sign,  letting  the  camera  motor \nrun  until  after  the  lights  are  cut  off  for \nThe fadeout. Titles will be few if continuity has been watched. If you're a poor letterer, use a lettering guide to ensure perfect alphabets, or employ anagram blocks for spelling out the wording. If the film is in color, use red or yellow enameled anagrams against a colorful background for good effect. Avoid freak titling, however, as this will only detract attention from the principal footage.\n\nThere are now nearly 1,500 exhibitors and 75 producing concerns in India with a total investment of \u00a313 million sterling.\n\nIndustry Sees Bright Future\n\nThe coming of the talkies six or more years ago gave a further lift to Indian films as the adaptation of sound to the screen got over the great obstacle of illiteracy. The early talkies were rather crude, but technique has become far better now and a number of Indian pictures have been produced which bear comparison with the best in the world.\nThe Indian film industry holds favorable comparisons with the best in Europe and America. The future offers bright hopes for this industry. Its leaders have recognized the need for organization and a well-planned work program to achieve their ambitions. Consequently, they have initiated an Indian Motion Picture Congress. The first session will take place in Bombay in April this year. The congress is sponsored by all film societies in India, including the Motion Picture Society of India, Producers and Distributors' Associations, Cine-Technicians' Association, and Amateur Cine-society. J.H. Booth, general sales manager of Bell & Howell, will personally oversee the company's exhibit at the National Photographic Dealers' Association convention in Hotel Astor, New York, April 21-23.\nThe Society of India and the Visual Education Society. The chief aims of the congress will be to secure recognition for the film industry from the Government. Indian banks do not advance money to the film industry. Finance will therefore be another important subject for discussion. The congress will press for the use of film for educational purposes. A central organization which can speak with authority on behalf of the industry will be another important subject before the congress. The publicity attending the congress is expected to open people's eyes to the importance of cinema and lead to the building of more and better picture houses all over the country.\n\nThe Motion Picture Congress in Bombay will be supported by an exhibition representing all departments of the film industry itself and every line allied to it.\nChandulal J. Shah of Ranjit Movie tone is chairman of the Executive Committee of the congress and the two secretaries are Y. A. Fazalbhoy of Fazal-bhoy Limited and L. S. Hirleker of the Agfa Photo Company. Interesting effects are obtained by framing shots from well inside the airport hangar.\n\nFilm Industry in India Holds April Convention\n\nThe world\u2019s greatest and best negative in every respect is Eastman Plus X Panchromatic, according to every cameraman who has used it - J. E. Brulatour, Inc. - Distributors - American Cinematographer \u2022 April\n\nCan\u2019t combine jobs of director and cameraman, says Garmes\n\nOne man cannot simultaneously with success combine the jobs of cameraman and director, declares Lee Garmes, A.S.C. Suggests concession is made.\nA person undertaking such a task may have the ability to do either well. The cameraman-director, who has recently returned to Hollywood after more than four years in England, demonstrates agreement with directors who, in the industry's early days, discovered that a director who sustained a characterization in a picture they were making was not only acting in an overplayed manner personally but was also guilty of self-interested and partial rather than impartial direction, which amounted to faulty direction. Garmes' last few years in Hollywood included photographic successes such as \"Zoo in Budapest,\" \"An American Tragedy,\" \"Smilin' Through,\" \"I Am Suzanne,\" and the Academy award-winning \"Shanghai Express.\" Following this, he journeyed to New York.\nYork, where he became a partner in the Ben Hecht-Charles MacArthur producing combine. In this capacity, he served as associate producer, codirector, and director of photography, filling in his spare time by aiding in the cutting of productions such as \"Crime Without Passion\" and \"The Scoundrel. From New York, an enticing offer came from British Producer Alexander Korda. Rough backgrounds are plentiful for photographers at the \"Beau Geste\" location near Yuma, Ariz. Here is William Walting, with Johnny Engstead (kneeling), making a portrait of Ray Milland, Robert Preston and Gary Cooper between scenes of the William A. Wellman-Paramount production. The hot desert sun is aiding in the development of unusually bright stills with contrasting shadows difficult to obtain in the studio. Lured him abroad, where business and other opportunities awaited.\nMatrimonial ties kept him largely in England, where he widened the scope of his activities in business. He not only photographed and directed with distinction but organized his own producing company, Lee Garmes Productions, established a thriving Bond Street portrait and commercial photography institution, Lee Garmes Hollywood Photography, Ltd., and more recently started two press photo services. In this, he becomes unique among film folk, as one of the extremely rare few to invest his savings in the business of which he has a specialist's knowledge, rather than in conventionalities like bonds, real estate, and the like, which he can have only a layman's understanding.\n\nReturning to active work in Hollywood after so many years, the first thing that impressed him was that the industry's mental attitude was more receptive.\nPeople seem to be feeling easier, he says. \"Four or five years ago, we were just getting nicely into the depression, and conditions within the industry were chaotic. As a result, everyone seemed all 'tightened up' \u2014 nervously on edge. When I came home, the first thing to impress me was the absence of this tension. It should pay dividends in better production. I'm glad to see it, and I hope it increases. After all, we've got a big enough job just turning out motion pictures, without bothering too much about politics or the fifth race at Santa Anita. Another thing that pleases me is the increasing use of color. To my mind, color is the next logical step in cinematography, and sooner or later it will have to become the accepted thing for all production, from the super-specials down to the Bs.\"\nit will come as soon as a process simple and economical enough appears. Technicolor dominates the color field today, but none of us can tell what may develop in the future. I'm certain, however, that color will become the accepted medium as inevitably as panchromatic film superseded ortho. In the old two color Technicolor days, I photographed several Technicolor productions, and in my studio in England, I've been doing a great deal of work with the modern color processes. For stills, we use Dufay chiefly; with proper processing, it gives beautiful results. I've also had some very fine results shooting Agfacolor in my Leica. This film, which is a monopack film on the same order as Kodachrome, is fast, and gives beautiful results.\n\nDufay 35mm. Film\nI've also shot quite a bit of 35mm. Dufaycolor motion pictures. The English version is missing.\nExperts have reduced the size of Dufay's network, ruling color screen, making it not objectionable unless one is sitting very close. Their color prints are good, though like most color processes, they have not yet approached the consistency of black-and-white.\n\nGetting away from strictly technical phases, I'd like to mention a couple of things I've learned in the last few years. First, some people, knowing I have both photographed and directed pictures, have asked me if I thought one man could successfully combine both jobs.\n\nOne Job at a Time\n\nFrankly, I don't think so. A man may have the ability to do both well, but if he concentrates, as he must, on ensuring actors handle their lines and actions properly, he can't help overlooking technical aspects.\nLooking at important details of photography and lighting, while if he deals adequately with camerawork, I don\u2019t see how he can get the most out of his direction.\n\nSecond - and even more important - too few cinematographers realize how important the cinematographer is to a production. I didn\u2019t until these last few years when I found myself on the other side of the table, as director and producer.\n\nIf cinematographers as a whole realized this, there would hardly be any limit to the professional heights to which the craft and its individuals could rise. After all, the whole business is fundamentally one of selling photographs - and only the man at the camera can solidify the producer\u2019s investment to tangible, salable form!\n\nConditions in England? Well, they\u2019re going through what you might call a \u2018recession\u2019 in the British film industry.\nA few years ago, it overexpanded. Too many people got into the industry who knew nothing\u2014or next to nothing\u2014about making pictures. That is slowly and painfully correcting itself.\n\nThe British industry is fundamentally sound. The studios and equipment are beautiful, and a group of writers, directors, cinematographers, and technicians who really know their business exists.\n\nCrews Underpaid\n\nSome of the British cinematographers are extremely capable. Unfortunately, however, not all of them get the credit, the salaries, or the opportunities they deserve. The operative crews in particular are badly underpaid.\n\nSome British directors of photography, such as Fred Young, who does the Anna Neagle pictures; Harry Stradling and Korda\u2019s Georges Perinal, are fine artists, on a par with any in Hollywood. They command the top positions in England\u2019s camera profession.\nOne thing especially handicaps production in England: the relatively small size of the industry. In Hollywood, motion pictures are recognized as the third or fourth largest industry in the nation. The industry is treated as such, getting full individual and official cooperation everywhere.\n\nIn England, this is not the case. I doubt if the film production industry ranks even among the first hundred of Britain's industries. Accordingly, it is treated as a rather poor and unwanted stepchild. You don't realize the difference until you encounter it in the concrete, as I did!\n\nBut technically, England's industry, on its smaller scale, is well equipped. I've been particularly impressed by the DeBrie cameras, which, with our own familiar Mitchell, are the universally used types. The lightness and compactness of the DeBrie are unexcelled.\n\"In addition, the DeBrie feature of following the action on the film while it is being photographed is a great advantage. Old Cameras Remade\"\n\n\"This reminds me of an interesting thing I discovered on a visit to the French studios. There is one excellent plant, controlled by Paramount, at Joinville. When Paramount took the studio over, some years ago \u2013 I believe it was just as sound came in \u2013 the Hollywood studio sent over a lot of equipment. Some of it was outmoded to American minds. Among this latter class was a batch of old Bell & Howell cameras, displaced here by silenced Mitchells.\"\n\n\"The French mechanics overhauled and quieted these old boxes, and in doing so, they added the indispensable Continental feature of viewing the scene through the film as it is being photographed.\"\n\n\"Think of the beauty of it! The accuracy of exposure and focus is increased a thousandfold.\"\nWith 16mm sound film increasing in educational, industrial, and home entertainment use, the technique of film splicing to avoid the \"bloop\" sound caused by square splices becomes increasingly important. To reduce this \"bloop\" noise when a square splice passes the scanning beam of the sound projector, it has been necessary to paint out a section of the sound track on either side of the splice in a diagonal fashion.\n\nHowever, research has revealed that a similar \"bloop\" eliminating effect is obtained when the splice itself is made diagonally, as it is made with a Bell & Howell film splicer.\n\nWhen a diagonal splice passes the scanning beam, the width of the sound track becomes narrower and narrower, gradually decreasing the sound coming from this portion of the track.\nwhile  the  sound  from  the  track  in  the \nsubsequent  scene  increases.  The  resultant \ncombination  gives  somewhat  the  same  ef\u00ac \nfect  in  sound  as  a  very  rapid  wipe  in \nthe  picture. \nracy  of  the  Bell  &  Howell  movement, \ncoupled  with  this  feature  which  elimi\u00ac \nnates  swinging  the  lens  turret  or \nracking-over  the  camera  for  lining  up, \nand  which  enables  one  to  follow  focus \nthrough  the  lens  during  the  scene,  elimi\u00ac \nnating  finder  inaccuracies  and  guess\u00ac \nwork. \n\u201cI  tried  to  buy  one  of  those  rebuilt \ncameras  for  myself.  But  the  studio \nwouldn\u2019t  part  with  it,  though  the  plant \nwas  inactive  at  the  time.  Some  day \nthey\u2019d  be  busier \u2014 and  then  they\u2019d  need \nthat  camera!  I\u2019d  like  to  see  such  a \nfeature  on  American  cameras. \nWants  More  Compact  Unit \n\u201cAnother  thing  I\u2019d  like  to  have  is  a \nreally  practical  \u2018zoom\u2019  lens.  Not  neces\u00ac \nsarily  a  lens  such  as  those  available  to\u00ac \nA day, which in one lens gave an extremely wide range of focal divergences \u2014 say from a 24 mm to a six inch. Instead, a smaller, more compact unit which would give only a moderate range, covering the same angles with perhaps four separate lenses: one, for instance, with a range from 24mm. to 35mm.; a second covering the range between 35mm. and 50mm.; a third ranging from 50mm. to four inches; and the last, if necessary, from that to a maximum of six-inch focus. With this more limited range, the designers' problems would be easier: the lens could be made faster and more compact. It could be used far more. In fact, I would be inclined to use such a lens \u2014 if one were available \u2014 almost exclusively. Modern production technique calls for an incredible amount of \"dolly zooming\", especially moving the camera relatively short distances.\n\"As everyone knows, it is exceedingly difficult to light a set properly and make provisions for such camera movement. A moderate range \u2018zoom\u2019 lens would be a tremendous advantage in solving these daily problems. Finally, I'm more than happy to be back in California again. England is a delightful place to live, especially on the not too frequent occasions when the sun fights through the rain clouds. But once a man has got the California germ in his system, there's no cure but a return to California! I've found it even more delightful than the mental pictures my memory had built up during the cold, rainy days in New York and London! Another thing I've missed while away is the unique fellowship of the A.S.C. There is no other organization quite like it. I've missed the technical interchange and the personal fellowship engendered therein.\"\nAt the society's monthly meetings, I'm glad to get back where I can be a part of it again. \"Until you get clear away from Hollywood, to places where, as in England, the industry is small, you can't fully appreciate how much these informal gatherings of cinematographers have advanced the profession.\"\n\n158 American Cinematographer\n\nWith Sail Around South America\nBy George Blaisdell\n\nThe Harry and Harriette Parkers of Los Angeles have completed a 19,000-mile trip that for novelty and opportunities for the photographic-minded rates something out of the ordinary. Four months were devoted to a journey that started at Los Angeles harbor October 10 and landed them back at the same pier February \n\nThe trip was made in a Norwegian freighter that sailed from Vancouver and returned to that place. When Harry Parker...\nParker made inquiry as to the ship's ports of call. He was assured there could be a guarantee of eight at least. But he was also informed that as the vessel was subject to \"flagging\" by radio as it proceeded on its course, very likely there would be more stops than guaranteed.\n\nThe actual result was four times the number. Thirty-two calls were made following the ship's departure from Los Angeles up to its return to the same port. The course was along the coast of Mexico and Central America to Panama; down the west coast of South America, touching at ports of Colombia, Ecuador, Peru, and Chile.\n\nThen there came the sequence of a journey through the Straits of Magellan, one to be remembered for its thrills of battered wrecks; remembered not only by the two travelers but also by those fortunate enough to witness the scene.\nFrom the year 1600, 1600 feet of pictures were exhibited in 16 mm. Kodachrome, following the display of some of those thrills in Dufay and shown by a Bausch and Lomb lantern projector.\n\nHave Wide Ties\nThe trip was continued from the Straits along the east coast of South America, through the canal and back to Los Angeles.\n\nThe Parkers are seasoned travelers. Their experiences in getting ready for these journeys may appeal to those preparing to accumulate photographic equipment for tourists traveling via freighter and returning home without encountering a change of quarters.\n\nIllustrating the mass of photo equipment permissible to tourists: Practically all of the Parkers' photographic equipment, with the exception of the 72-inch Da-Lite screen, were taken along. In the picture are also four hardwood boxes devoted to the protection of the many Dufay 3XA cameras.\nThe unipod rests on the tripod with parallel backgrounds. Harry Parker is a member of the Los Angeles Cinema Club and approximately a dozen other city organizations. Mrs. Parker is a past officer of the Hollywood Woman's Club and is a member of other civic, social, and cultural bodies. On four preceding occasions, the Parkers were seized by an attack of wanderlust and made world tours. But last fall, they succumbed for the second time to the lure of the freighter, as they had been impressed by the tales of such life from friends who had tried it \u2013 and fallen hard for it. They decided they would select their own time of year, gaining the advantage of a summer when their home was under such disadvantages, if any, in a Los Angeles home in winter. They looked forward to the charm of\nsunshiny tropical waters, of the informality of life on a freighter, in April 1939, American Cinematographer 159. Freedom on shipboard to go where fancy dictated and to be welcomed and not roped off, even in the pilot house; ashore to visit places off the beaten paths, spots which were ignored by railway connections.\n\nThey had been assured of the restfulness of the life. In pursuit of that thought, they had secured the owner\u2019s quarters, a suite of two rooms, with no berths to climb into. Knowing their belongings were to be \u201cset\u201d for four months, they had brought along a hundred books, apportioned according to their reading tastes.\n\nPhoto Equipment\n\nAmong the books were three that covered everything in the way of general information \u2014 Freeman\u2019s \u201cDiscovery of South America,\u201d Foster\u2019s \u201cIf You Go to South America,\u201d and \u201cSouth America.\u201d\nThe photographic equipment consisted of a 16 mm. Bell and Howell Filmo 2.7 lens and a 3% Taylor-Hobson Cooke lens; a Thalhammer tripod of the latest style; an extension unipod; a Craig Projector Editor; a B & H Filmo model 129C projector; a Weston meter; and a 2 by 2 Rolleicord. The Ansco camera, which has accompanied the Parkers on their four world tours, also has a 3% by 4-inch Ansco camera.\n176 film slides in Dufaycolor were made during the trip, which were shown on a Bausch and Lomb projector. The screen is a Da-Lite 72-inch model. An extra assortment of cords was carried along for plugging in when necessary. Two radios were packed. One was a novelty\u2014 a Mission Bell with doorbell batteries, but its range was restricted to not more than 150 miles from the source. It is approximately 8 by 10 by 18 inches in size, with a generous handle for carrying. Its bearer would not have to tote it into a gathering.\n\nLeft: ship entering Straits of Magellan, conforming to the shivery custom of signaling the station on shore with its identity, so that a parallel record may be made on the ship's emergence from Straits that passage has been safely accomplished. Center and right: mountains in Straits covered with perpetual snow.\nThe savages are given credit for being magicians as the little radio performs its functions without visible means of support or connection. Another radio, an RCA-Victor shortwave, brought in New York from the Straits of Magellan without difficulty. This model is equipped with AC and DC current. It's worth noting that the Parkers always take along a converter in case it's necessary in an emergency.\n\nHitler Controls Air\nAn American flag, brought from their home, was prominently displayed in the Parker suite on shipboard to add to the atmosphere of their surroundings. However, it drew their attention significantly when they discovered that for twenty-four hours a day, Germany was broadcasting by means of the most powerful equipment in South American waters. Italy was also broadcasting.\nBroadcasting world news in Chinese. The preliminary steps had been quite extensive. There was a list of various clubs of which the two travelers were members. There were letters from the executives of these clubs identifying the pair. There were vaccination certificates, police clearance papers signed by the chief of police, who did not know them in their official capacity. From business friends, there were letters of introduction to South Americans. Among these were messages from the San Francisco consul of Argentina. There was convincing certification that neither had at any time been subject to trachoma. For the benefit of consuls in different countries, sixteen pictures of each were taken.\n\nEarthquakes? No.\n\nOn one occasion in India, a longer stay than anticipated had been made.\nIt became necessary to replenish funds. Letters from home authorities were entirely satisfactory to an Indian bank, and a check was accepted on the spot. Since then, letters of identification have been a part of the impedimenta. The Parkers were fortunate in dodging the earthquakes. They reached Chile at least eight weeks prior to the tragic shake in that country. In Salvador, they left shore on their return to their ship at 12:20 p.m. Twenty minutes behind them was a real shake.\n\nKodachrome movies and Dufay slides tell the story of the trip through Magellan. In the background is always the perpetual snow on the mountains. If a ship is 500 feet in length, it is necessary to go around the Horn. The tide sometimes falls thirty-eight feet. The average ship anchors at nightfall.\nThe fogs are one of the worst worries for mariners. Rainfall is usual for five hours a day. Intimated earlier, there are plenty of shipwrecks. Names of islands and capes are terrifying in themselves \u2014 Starvation Point, Desolation and Hunger islands are fair examples.\n\nThe Parkers brought home quite an array of pictures of Indians. As a rule, they discovered the natives were still antagonistic to a camera. In their superstition, they believed the camera would rob them of something they possessed.\n\nLeft: Second Christian Science Church, Buenos Aires. Center: office of coffee plantation on a cloudy day. Right: bicycle police with white cloth on head and arms so they may be distinguished at night.\n\nInstead of mailing home post cards, the two travelers followed their novel rule of sending newspapers instead.\nAt Rio Blanca, the travelers were disappointed to learn they had to return in order to get down to sea level before dark. They exposed a lot of negatives but were forced to work quickly without the aid of a tripod. Mr. Parker pointed out, \"a lot can happen before you can get a camera lined up for a shot.\" They learned that Mrs. Parker stood guard over twenty-four pieces of family baggage, original and accumulated on the trip, pending its release by inspectors.\nDians accustomed to these great altitudes are overcome by atmospheric conditions when they get down near sea level. While on tour, the Parkers make it a point to keep a journal of at least 500 words a day. Upon their return, the matter is typewritten and bound into a book. This plan has worked out well, particularly in leaving nothing to memory that may be mistaken.\n\nIn exercising one of their letters of introduction, the Parkers were entertained in the sampling room of the Tomba Bodega, vineyards in the vicinity of which cover an area of 50 by 100 miles. The Tomba winery alone ships out each and every day in the year eleven freight carloads of wine. Sixty percent of it goes to Argentina, none to the United States. Instead of coming home from their journeys with their baggage smeared with stickers from various and sundry places.\nThe Parkers carefully file away hotel information and paste it into a scrapbook, resulting in an interesting souvenir. Mr. Parker observed that many tourists showed great interest in churches and similar institutions. He remarked that the more he traveled, the more industry-minded he became.\n\nHe spoke of the great coffee plantations he had visited on his recent tour, the wineries, and the snake farm in Sao Paulo. Of this latter institution, he brought back some rarely interesting Kodachrome close-ups, in which poisonous snakes are shown striking at a man's legs among them. It was explained, however, that the man wore under his trousers exceedingly high and stout boots.\nThe Parkers have made it a habit to make a trip every other year. Next year is the year they plan to make a trip \"Down Under,\" to the South Seas and to Australia.\n\nApril, 1939. American Cinematographer 161.\n\nThis simple reaction of \"in all- of |n.U<n and an.\" a patron to the following: 1,100,000.\n\nUnion carW<t^ CXjEVeLAAND, Carbon Sh.es 0\";S\"?s, v-a. : G,n.rJO<c<^ HmiMM CHir\u2018G\u00b0, OHIO. SO full tone. noO<L.\n\nDaylight quality\n\nIllumination of day light quality has advantages in the studio as well as in the theater. It is necessary for Technicolor and, with silent lamps of improved optical characteristics now available, there is growing recognition of\nThe photographic advantages of cool, snow-white, carbon arc lighting for monochromatic productions.\n\nNational Carbon Company, Inc.\nGOOSENECK BLIMP LAMP\nREAL TROUBLE CHASER\n\nBy Clyde De Vimna, A.S.C.\n\nMinor inconveniences \u2013 if they recur often enough \u2013 can sometimes prove at least as troublesome as really serious flaws. An excellent example of this is the lack of illumination inside most camera blimps. Every time the camera has to be reloaded, the movement inspected, lenses changed or their settings checked, the assistant cameraman has occasion to experience this issue.\n\nMajor advances in methods and apparatus will greatly improve the quality of both sound recording in studios and reproduction in theaters, according to T. K. Stevenson, president of Electrical Research Products, Inc. who made a week\u2019s visit to the coast recently.\nMany new improvements materially raise the quality of sound in final stages of development in Bell Laboratories' research department. Stevenson stated, and will be made available to Erpi studio licensees and theaters as quickly as possible. Erpi's president could not hazard an opinion as to what new improvement would be the first to emerge from the laboratories. The company, he pointed out, through its new headquarters in Hollywood, which contains an extensive research laboratory for cooperation directly with studio sound departments, is continually striving to raise the quality of sound for both production and exhibition. This supplements base research of Bell Laboratories. Stevenson, who recently made a trip to London and Paris to survey business conditions abroad, stated that theaters throughout the world were quickly modernizing.\nClyde De Vinna, A.S.C. and his assistant discuss the usefulness of the gooseneck lamp mounted atop the blimp. Erning their sound projection apparatus, and practically all new installations were American-made equipment. He stated that Erpi's business abroad in the first two months of this year was 25 percent ahead of 1938. The trend to modernizing sound equipment was particularly noticeable in South America and Australia, he stated. Though for years a flashlight has been regarded as a standard part of camera equipment, flashlights are not convenient to use at such times. They are a separate piece of equipment, easily mislaid or borrowed. Batteries have an embarrassing habit of growing weak at the wrong time. The public is becoming more conscious.\nStevenson commented on the importance of sound quality in motion pictures. Through education, he secured higher quality reception of radio programs, particularly symphony concerts and food music. It's a public education in sound quality, with producers and exhibitors maintaining high standards. These routine operations can be performed quicker and better if a man doesn't have to hold a flashlight. My crew has had its share of these minor irritations. So we have evolved a simple added refinement for our blimp, which eliminates the trouble. It is a flexibly mounted lamp to illuminate these and similar tasks. The lamp, like many home and office lamps, is mounted on a long \"goose neck\" flexible tube. One end of the tube is attached to the lamp, while the other end holds the bulb.\nThe lamp is suitably attached to the top of the blimp. The other end carries a small globe and reflector. A light cable connects it to any convenient power outlet on the stage.\n\nIn use, the lamp can be swung down around the opened door of the blimp to give the assistant plenty of illumination for reloading the camera or checking the movement. In the same way, it can be swung forward to light things up when he is changing lenses.\n\nAt other times, it can be used to give the assistant a good, clear view of the focusing calibrations in making follow-focus scenes or dolly shots. And after the scene is completed, the same lamp helps him see to make out his camera reports and the like.\n\nSince the device is built right on to the blimp, it is always ready for use and is especially handy when the camera is crowded into tight corners.\nThe sensation of the March meeting of the Los Angeles 8mm Club was the premiere presentation of the first all-talking 8mm picture. Since the 8mm world has for some years been casting envious eyes upon the sixteen millimeterists' potential ability to make sound films with commercially available equipment, this first 8mm talkie was greeted by a truly remarkable ovation. The film and the methods used in its production were:\n\nApril, 1939 \u2022 American Cinematographer 163\nRandolph Clardy\nFirst mm Talker\n\n(Note: The text appears to be mostly readable, with only minor OCR errors. No significant cleaning is necessary.)\nProduction was the work of Randolph B. Clardy, a two-time Grand Prize winner in the American Cinematographer's International Amateur Movie Contests, and winner of the Photography Award in the 1938 event. The stars of his 100 foot all-talking production were Club President Alexander Leitch and Mrs. Leitch, supported by the Clardys, husband and wife.\n\nThis first \u201c8\u201d talker is the result of nearly a year's experimentation by Clardy, during which time he tried and discarded a considerable number of ideas for recording sound and for coupling the recorded sound with his pictured action.\n\nThe first and most serious problem encountered was that of the relatively low speed at which 8mm. film passes through camera and projector. Even at 24-frame speed, 8mm. film travels at only 18 feet a minute, while at the same time, the slow film motion posed a significant challenge.\nThe travel is only 12 feet a minute with Clardy\u2019s Eastman Cine-8's 16-frame speed. His experiments confirmed the findings of 16mm sound equipment manufacturers: a minimum linear speed of 33 feet a minute is necessary for recording or reproducing sound of minimum quality on film.\n\nBy Wm. Stull, ASC.\n\nFor rather obvious reasons, Clardy also decided that for his purposes, at least, photographic sound recording was out of the question. Galvanometers for recording and photocells for reproduction are expensive. It would be difficult to fit them properly to the small 8mm equipment. Moreover, securing acceptably smooth film motion in the limited space available would be very nearly impossible on any practical scale.\n\nTherefore, Clardy decided that his sound record must be cut or embossed.\nThe extremely low linear speed of 8mm film movement threatened him again. He couldn't cut a sound-groove on his 8mm picture-film, even if a cutting head could be installed in the camera. The next experiment was with a needle-cut sound record on a separate film, moving synchronously at a higher speed. This, too, was unsatisfactory. Using 16mm film moved at approximately 36 feet a minute (24 frames a second), the recorded sound quality was far from satisfactory.\n\nClardy resorted to the same principle used in early Vitaphone talkies \u2013 synchronized recording on disk type phonograph records. For this, he purchased a standard disk type recorder, using the inexpensive \u201ctranscription\u201d type of acetate disks.\nEliminate soft waxes used professionally with cumbersome and costly electroplating and stamping operations. These disks may be played back immediately after recording, and with proper care, will endure many hundreds of playings. Here, the amateur soundman has his choice between two recording speeds. Standard commercial phonograph disks are recorded at 78 revolutions a minute, while Vitaphone disks, radio transcriptions, and the like are customarily recorded at 33 1/3 r.p.m. Ten or a dozen years ago, even the best professional recordings made at the latter, slower speed lacked the intelligibility and brilliance given by the greater proportion of high sound frequencies recordable by the higher record-speed. But with today\u2019s high fidelity amplifying equipment, this distinction has been virtually eliminated, and the slower speed is no longer necessary.\nFor more than doubling the playing time of any given disk, transcription type recording increases it. Clardy standardized on 33 1/3 r.p.m. recording to avoid unreasonably close record grooves. He records sound or dialog for a complete 200-foot reel on a standard 12-inch disk.\n\nThe next problem was coupling camera and recorder for picture taking, and projector and reproducer for showing the picture, ensuring sound and picture synchronization. Professionally, this is achieved using interlocking electric motors, electrically interlocked to operate in step. For home talkie purposes, this would be impractical, so Clardy developed a simple yet positive mechanical linkage.\n\nAfter investigating the mechanical details, Clardy evolved a solution.\nThe camera's mechanism allowed him to extend one main driving shaft to the outside of the case, on the right-hand side. He coupled a simple, home-built gear box to this shaft, which in turn was connected to a short, flexible shaft leading to the turntable shaft of his recorder. The gearing enabled synchronization of the two at 33 1/3 rpm for the recorder and 16 frames per second for the camera. Clardy's camera was already equipped with a wind-back clutch for making dissolves and double exposures, a device he pioneered in 8mm. over four years ago. This enabled disengaging the camera spring motor and recording talkie scenes of any length.\n\nIn practice, sound and picture were recorded simultaneously. Due to the synchronization through the flexible shaft connection, the gearing ensured that both operated at the same speed. Clardy's camera was equipped with a wind-back clutch for making dissolves and double exposures, a feature he had pioneered in 8mm. over four years ago. This allowed for disengaging the camera's spring motor and recording talkie scenes of any length.\nflexible coupling between the camera and recorder, a limited amount of pan- T Three new films from Eastman have received wide acclaim for setting new standards of quality and performance. fast, fine-grained P/us-X for general studio work. high-speed Super-XX for difficult exposures. ultra-fine-grained Background-X for backgrounds and all-round exterior work. All three offer the high reliability and photographic quality typical of Eastman sensitized materials.\n\nEastman Kodak Company, Rochester, N. Y. (J. E. Brulatour, Inc., Distributors, Fort Lee, Chicago, Hollywood.)\n\nEastman Plus-X ... Super-XX ... ultra-fine-grained Background-X\n\nApril, 1939 \u2022 American Cinematographer 165\n\nONE B&H MODEL REPLACES THREE 16MM. PROJECTORS\n\nMARCH 1 Bell & Howell replaced three 16mm. projectors with one model.\nThree former 16mm projector models with one machine, claimed to be the finest moderately priced 16mm projector ever offered by the company. The new projector, named the \"Film-aster,\" is entirely gear-driven. It has no belts or chains inside or out. The gears, enclosed by rigid aluminum-alloy die castings, are said to be exceptionally silent. It is stated that this is the first 16mm projector with such specifications to appear in the low-priced market.\n\nAdditional specifications of the new Filmmaster gear-driven projector indicate versatility in every conceivable home movie use. Shift a lever and the gear system rewinds the film quickly. The lens furnished, a 2-inch FI. 6, is the same as supplied with higher priced B&H machines. It is instantly interchangeable.\nThe projector comes with eight interchangeable focal length lenses. The standard lens and lamp illumination are increased by 32 percent with a Magnilite condenser. A lamp switch allows turning the lamp off during film rewinding. A no-glare pilot light illuminates the Film-aster projector mechanism when required. The projector can be tilted using a thumb-screw, and the film is rewound by throwing a lever. By disengaging the clutch, any single film frame can be projected as a still picture, projected from heat by an automatic safety shutter. Reels have a 400-foot 16mm film capacity. The projector is finished in dark brown, crinkle-baked enamel. Fittings are of brown bakelite and polished nickel plate. A drop-front, compartmented carrying case is included. Like all Bell & Howell projectors, the Filmaster is approved by the relevant authorities.\nUnderwriters' laboratories and covered by B&H lifetime guarantee against defects in materials or workmanship. Universal makes good use of portable sound stages. Portable sound stages have been introduced to the film industry by Henry MacRae, producing Universal's outdoor drama, \"Oregon Trail.\" Working on location at Kernville, a couple of hundred miles from Hollywood, MacRae devised a miniature sound stage for use in filming interiors of covered wagons, stage coaches, and pioneer cabins. Bell & Howell Filmaster 16mm. projector replacing three former models of that company. Brownie Special Six 20 is equipped for snapshots or time exposures, and for moderate close-ups as well as more distant views. When bad weather or lack of sun made outdoor photography impossible, \"This portable stage is an experiment,\" said MacRae, who has devised many others.\ninnovations during his twenty-five years as a screen director and producer. \"By using regular studio equipment, we are getting excellent results and saving a lot of time.\"\n\nSpencer Introduces 100-Watt Projector for 2 by 2 Slides\n\nThe Spencer Lens Company of Buffalo, manufacturer of microscopes and scientific optical instruments, has announced another new projector for 2 by 2 inch slides. It follows shortly after the announcement of its 750-watt auditorium projector, Model GK.\n\nThe new instrument will be known as Model MK Delineascope. The basic unit will be priced at $22.50. The manufacturers claim this 100-watt projector is far more efficient than expected from its size and price; that it remains cool enough to handle at all times, and assures safety for color films.\n\nThe projection lens is 5 inch focal length and has a speed of F/3.6.\nEastman sets prices on Super-XX Negative film. Safety Super-XX Panchromatic Negative Cine-Kodak film is now available in 100-foot and 200-foot rolls for daylight loading, and 400-foot rolls for darkroom loading, the Kodak Company announces. Notable for its extreme speed, Safety Super-XX Panchromatic Negative Cine-Kodak film is not processed by Kodak. It is not intended for reversal processing, but for development to a negative from which any number of positive prints may be made.\n\nPrices: 100-foot rolls, daylight loading, $3.50; 200-foot rolls, daylight loading, $7; 400-foot rolls, darkroom loading, $14.\n\n\"Juarez\" declared really great picture, Warner Brothers executives seriously discussing issuing it as a two-part feature (American Cinematographer \u00a9 April, 1939)\nOther producers have faced parallel problems, but in practically all instances, they compromised by sending out the film as a road show or its equivalent at its natural length. For general distribution, they slashed it to the footage best suited for exhibitors.\n\nThe executives at Warners are satisfied that in \"Juarez,\" the company possesses a great property. In a chat with Tony Gaudio, A.S.C., a few days before folding up time at this desk, the veteran photographer very frankly and enthusiastically expressed his conviction about the greatness of the picture.\n\nAs he had directed the photography on \"Juarez,\" he was in something of a unique position.\nThe speaker's intention is clear. He had a thorough understanding of the subject matter, having seen it in sixteen reels. \"And believe me, it is tight. It grips you like that!\"\n\nThe film's stars were Paul Muni as the title character and Bette Davis as Carlotta, the archduchess of Maximilian. The leading roles included many of the screen's foremost players: Claude Rains, Donald Crisp, Robert Warwick, Montagu Love, Alexander Leftwich, Holmes Herbert, Frank Mayo, Gale Sondergaard, Brian Aherne in the tragic role of Maximilian, John Garfield, Joseph Calleia, John Miljan, Pedro De Cordoba, Charles Middleton, and Gilbert Roland.\n\nThe film took thirteen weeks to make before the camera. However, that was only a small part of the time spent creating the sixteen reels of action that now had Warner men concerned.\n\nSeptember 30, 1937, was when filming began.\nWarner Brothers first announced intention to film this significant document of human liberty, co-starring Paul Muni and Bette Davis. By February 23, 1939, when the cameras ceased turning, many salient things took place, things that upset a dozen precedents in motion picture production, established a dozen others. Here was to be a historical drama that would adhere to historical fact. It does. Here was to be a true portraiture of many characters, great and small, opposed and involved in one of the world\u2019s most reprehensible international plots. Those characters are presented as faithfully as was humanly possible. Screen star ego and screen star importance were to be held subordinate to story. This was done.\nDue to the Convention in New York, April 24-27, of the National Photographic Dealers\u2019 Association, in which convention and trade exhibit this magazine is represented, it is planned to close forms earlier than usual. Cooperation will be appreciated. Money was to be considered in research, story construction, casting, set building, wardrobe assembly, or production. At the same time, there was to be no waste of either asset. That was followed as the record shows.\n\nThird Biography\n\nWhen, in the fall of 1937, Jack L. Warner and Hal Wallis, his executive assistant, decided that \u201cJuarez\u201d should follow Muni\u2019s \u201cPasteur\u201d and \u201cZola\u201d as the third of a series of biographical dramas, the assignment was immediately given to Producer Henry Blanke. Young, enthusiastic, astute, the man behind both previous Muni hits.\n\nBlanke called in Director William Wyler.\nDoctors Dieterle, Blanke, Muni, and MacKenzie were called in by the studio reading department. Doctor Herman Lissauer, the professorial head of the studio research department, was working on a comprehensive bibliography about Mexico's liberal President Benito Pablo Juarez and the abortive reign of Maximilian and Carlotta.\n\nEuropean literary agents were contacted via radio, telephone, and cable. Within a month, Lissauer provided Blanke, Muni, Dieterle, and MacKenzie with 372 books, documents, correspondence, and authentic photographs.\n\nMacKenzie, Wolfgang Reinhardt (son of Max), and John Huston (son of Walter) began working on the script. Later, Dialogue Expert Abem Finkel contributed.\nSix weeks after the first research began, the fourth draft of the script was completed in September 1938. With $1,750,000 invested, all studio departments received the go signal. Hal Wallis, Blanke, Muni, and Dieterle embarked on a six-week tour of Mexico to learn new facts about Benito Juarez and his accomplishments. Unique to Hollywood, they immersed themselves in the history and atmosphere of the country.\n\nMeanwhile, Art Director Anton Grot and his aid, Leo Kuder, created 3643 sketches of sets and set details. From these, the construction department produced 7360 scale blueprints for the sets.\nThree castles: Miramon on the Adriatic, Tuileries, and Chapultepee; for the embarcadero at Vera Cruz; a Mexican village covering ten acres of the Warner ranch at Calabasas, and forty-eight other key sets for the production.\n\nL. L. Burns, head of the wardrobe\nApril, 1939 \u2022 American Cinematographer 167\n\n1. Art Director Anton Grot (on the right) and his assistant, Leo Kuter, working on a small scale model of one of Warner Brothers\u2019 \"Juarez\" sets, featuring Paid Muni and Bette Davis as leads.\n2. Using the miniature as a guide, as well as sketches and blueprints prepared by the art department, we see these brought to life in this scene showing Paul Muni's arrival as Juarez. The building in the foreground at the left is the one plotted in No. 1.\nat the lower left, the cathedral is visible in the background with trees present as well. In the extreme right center of No. 1, a local laundry is shown with trees and the cathedral nearby. On the center left, a building with a balcony is indicated opposite the cathedral in No. 1, while a hill is behind.\n\nA still camera and a motion picture camera are lined up side by side as William Dieterle, with elbow on hood covering film magazines, directs the scene. Second from the left is Tony Gaudio, veteran director of photography. The sun, although brilliant, is not overwarm.\n\nDonald Crisp as marshal of France, commander of a hundred thousand men, is one of the leading characters in the picture.\n\nPaul Muni as Juarez.\n\nJuarez at the altar.\n8. Bette Davis as Carlotta, archduchess of Maximilian, confronts Claude Rains as traitorous Napoleon III. Tony Gaudio, cameraman, stands at extreme left. Carl Guthrie, operative cameraman, is seated behind camera at lower left.\n\n9. Gilbert Roland as Colonel and Aide de Camp Lopez stands at attention before Bette Davis as Carlotta. Mickey Kuhn as the adopted son and Brian Aheme as Maximilian.\n\nApril, 1939 \u2022 American Cinematographer department and Orry-Kelly, studio style creator, were at their respective tasks; Bums to supervise the outfitting of two entire armies, three courts, the people of twelve Mexican villages and cities; Orry-Kelly to design eighteen of the most magnificent gowns ever worn by Bette Davis for her role as the exotic Empress Carlotta.\n\nFortune in Jewels\nMiss Davis\u2019 jewels alone were valued at a quarter of a million dollars; not\nThe studio purchased fifty-four principal speaking parts, renting them from great jewel houses in Paris, New York, and Mexico City. Fifty-four actors or actresses with box office names and close resemblance to the characters were required. Director Dieterle conducted over 100 camera tests for wardrobe, make-up, and type in selecting players for the cast. Over 5000 extras and supporting players were interviewed, with more than 3500 used during the 80-day production.\n\nMaximilian and Carlotta never met Benito Juarez in history, and neither did Aherne and Bette Davis meet Muni during the picture. Production began with Aherne's scenes on October 29, 1938, and finished on December 27. Bette Davis started her role as Carlotta on December 20, 1938, and Muni started a day later, finishing his role.\nFebruary 6. The picture closed on February 13th, with the final ten days of battle montage between French and Mexican soldiers. Original score is by Eric Wolfgang Korngold, two-time Academy winner, who feels it is his finest musical accomplishment. He wrote approximately 3000 bars of music, more than in the opera \"La Boheme.\" Set dresser George Hopkins assembled over 10,000 items of furniture, furnishings and draperies; most unusual among them was a genuine Winterhalter portrait of Napoleon, painted in 1865, which Hopkins located with a private owner in San Diego. Property department and prop man Pat Patterson, assigned to the production, kept no record of the thousands of items they had to gather and hesitated even to estimate. Most difficult property to secure: three dozen roasting ears of fresh Indian corn in mid-December.\nTechnical direction was under Ernesto Romero, vice consul of Mexico on reserve leave. Total cost of Brian Aherne's elaborate flowing whiskers and magnificently-coiffed hair, reminiscent of Maximilian, was S567. Muni's make-up, though simple, took eight weeks to develop by Perc Westmore and his laboratory technicians.\n\nBette Davis cut off her own hair to a length of three inches to better wear the jet black, severely center-parted wig she wears as Carlotta. Despite the large cast, delays through illness, none; delays by weather, none; replacements in parts, none; retakes, one \u2014 a retake necessary by mechanical failure in a camera that could not have been anticipated.\n\nThe picture was the first major subject in Hollywood to be photographed on the new Eastman Plus X Panchromatic film. Not an inch of any other brand was used in the production, despite.\nClares Tony Gaudio. This is true despite the fact that at the beginning of production, the camera department was right on the heels of the supply department.\n\nGaudio Enthusiastic\n\nGaudio is enthusiastic in his reports of experiences in handling the film. \"The Eastman company is responsible for many improvements in photography,\" he said. \"But I am convinced this stock is not only a distinct advance. It is the best thing Eastman has done for the motion picture industry as a whole.\"\n\nIn his work, he had retained the same balance between highlights, half tones, and shadows as he had formerly with film that preceded Plus X. He said his level of illumination was reduced by exactly 50 percent.\n\nHollywoodland Studios\nSponsoring House Organ\n\nHollywoodland Studios, South Gate, Calif., amateur movie and still camera accessory mail order house, announces\nAETANO GAUDIO, A.S.C., an Italian-born citizen of the United States, has declined an honor from Victor Emmanuel III for his contributions to motion picture photography. Gaudio, notified of his nomination as a Knight of the Crown of Italy, decided to turn down the honor because it came from a foreign country, despite it once being his homeland.\n\n\"The honor is one which can be bestowed only by King Victor Emmanuel,\" Gaudio explained on the set of \"The Old Maid,\" a picture he is photographing at Warner Bros. \"It has nothing to do with the present form of government in Italy. Nevertheless, I do not feel that it is appropriate for me to accept.\"\nIs it right for me, now an American, to accept a foreign order? This saving in lighting, he declared, had worked out to the benefit of the camera department as well as the producers. The actors were happy too, as when made up in the morning, the make-up stayed. There was no occasion periodically to hold up things by taking time out to renew make-up. This was due, of course, to the change in temperature because of the lessened heat and the absence of customary perspiration.\n\nThe new stock caused no change in the color of sets or gowns, the cameraman went on. As to the question of some cameramen as to the use of the new stock on exteriors, believing possibly it might prove too fast, Gaudio insisted it is just as adaptable on exteriors as in interiors. He said the truth of his statement might be judged.\nin \"Juarez,\" it was used in exteriors as in interiors. The cameraman said, \"It is smoother, finer in grain and in speed.\" I am using Plux X in 'The Old Maid,' the picture I am now on, another Bette Davis subject, and I expect to be using it as long as I am in pictures. No, I don't think there ever will be anything really better.\n\nAsked about results on the screen, the veteran smiled. \"Don't ask me,\" he said. \"See it for yourself.\"\n\nThe purpose of this publication is to give amateur filmmakers additional help and information concerning their hobby through which they can produce more and better home movies. Features of the new organ include \"Questions and Answers,\" concerning current customers and the trade in general.\nThe first issue of Amateur Movie Chat introduces a novel contest, offering movie film as prizes for a permanent name for the publication. Another feature is a running scenario contest, one a month and the winning scenario to be published each month. Film is also offered as the prize to the winning author. This first issue is packed with interesting and valuable information for the amateur movie fan.\n\nHollywoodland Studios has found it necessary to enlarge its machine processing plant due to greatly increased film sales since the beginning of the year. We are now equipped to process all types of film.\nMr. Doty states that work is completed and films received are shown the same day. Hollywoodland Studios has film patronage from amateurs in every state in the Union and from many foreign countries.\n\nAmerican Cinematographer \u2022 FILMOARC PROJECTOR\nLIFTS 16MM, TO 35MM\n\nThe initial performance of 16mm. sound film in color on a public theater's regular 35mm. screen was given early in March at the Rockefeller Center Newsreel Theater in New York City. Theater executives in attendance agreed that only an experienced motion picture projectionist could distinguish a change from 35mm. to 16mm. film.\n\nThis is remarkable, considering projection of both 35mm. and 16mm. film was made from the same projection booth, covering the same length of throw, and that the 16mm. pictures completely filled the screen.\nThe regular theater screen, used for 35mm. pictures, was filled with a special subject in color titled \"On the Ice.\" Famous skaters performed on the Rockefeller Center skating pond in the film shown. The 16mm. projection machine used for this epoch-making matching of 16mm. film performance with that of 35mm. was one of the new Bell & Howell Filmo-arc, 16mm. arc-lamp sound film projectors.\n\nThe entire unit was engineered as an arc machine, using a high-intensity electric arc formed by two carbons which are automatically positioned by an electric control system to maintain a uniform gap. The Rockefeller Center Newsreel Theater performance proved to be a new projector for color or black and white 2x2 slides. A new compact projector for 2 by 2-inch slides, striking in design, high in efficiency, and unusually modest in price.\nThe Eastman Company announces the Kodaslide Projector, Model 2, ideal for showing Kodachrome transparencies or black and white positives. Suitable for home use, schools, and sales representatives, this projector offers high-performance in a compact size. Experienced users will appreciate its comparative coolness and smooth slide-carrier operation. The Kodaslide Projector, including lamp, is priced at $XX for the 7-inch projection lens. The New Bell & Howell Filmoarc, a 16 mm lamp sound-on-film projector, includes an adjustable ley stand for maximum portability for a critical audience.\nreleases at last all the heretofore latent possibilities of 16mm. film, combining distance and brilliance heretofore considered impossible. This is news of remarkable importance, not only to theater executives but to amateur 16mm. camera users interested in providing community newsreel shots for performance at local theaters. It is anticipated that the Filmoarc-equipped theater management will cooperate with resident 16mm. movie camera owners to make local newsreels a highly exploitable box-office attraction at every public theater performance.\n\nComplete information regarding the Filmoarc 16mm. projector may be obtained by writing Bell & Howell Company, 1801 Larchmont Avenue, Chicago, Ill. \u2013 or this publication.\n\nNo longer need the travel-moviemaker whose itinerary includes the torrid zone and its fringes fear the deterioration of film.\nThis movie camera finishes with the new Roxalin enamel announced by Bell & Howell. This finish, which has been exhaustively tested and adopted as standard on all Filmo 8mm, 16mm, and Eyemo 35mm cameras for tropical use, may be specified at time of purchase. It is claimed that the new finish is highly resistant to conditions of heat and humidity which cause quick deterioration in other types of camera enamel.\n\nCahill Returns Home\nCompleting a ten-day visit to the West Coast, Edward C. Cahill, RCA service manager, returned to the Camden home office after attending the Hollywood showing of the new line of RCA Photophone sound reproducing equipment to a large group of studio directors, exhibitors, and projectionists.\n\nApril, 1939 - American Cinematographer 171\nTelevision by Richard H. Lyford\n\nGenius is often too delicate a word to apply to any form of human being, but when a \"sound man\" who understands the fundamentals and has had plenty of experience really \"gets going,\" it's hard to find an adequate synonym.\n\nAbout six years ago, a little bug named \"television\" stirred up Roy Adams, young Hollywood inventor, as if he was \"head clock\" in the equatorial time center of the universe. Today, at the age of twenty-six, he's running full blast, and prospects for a main spring going haywire in the near future are mighty dim.\n\nIf he is interrupted while involved in some deep technical problem with the question, \"Who's going to win the Chinese War?\" you'd probably get the answer, \"Frequency modulating 54 megacycle carrier - electro-static deflection potential is - oh, beg your pardon, yes, it looks bad for the Chinese.\"\nSince 1933, Adams has built three television receivers. His latest and present one is of the electronic type, with the picture being viewed on a five-inch cathode ray tube. These tubes are available up to twenty-four inches, which gives a good-sized picture for anyone's home. A common question asked frequently by Mr. John Q. Public is \"Well, when will television arrive?\" In Los Angeles, the Don Lee station W6XAO has been broadcasting scheduled television programs daily for six years! The British Broadcasting System has been at it for an even longer period of time. According to some reports, its equipment is superior to that of the United States \u2014 many other reports, however, contradict this.\nThe United States holds more patents than any other country. Until transmission methods in America become standardized, the Federal Communications Commission has refused to issue licenses except for experimental purposes. Commercialism is not present in English programs, eliminating one important barrier for television promoters in America. Britain has only one broadcasting station with scheduled programs, located in Alexandra Palace, London, operated with a 50,000 watt transmitter. W6XAO in Los Angeles has only 1,000 watts but, as it is operated experimentally, there is no need for more power at present.\nAt a recent gathering of television technicians in Los Angeles, a question was brought up concerning the functioning of a newly developed sweep circuit. Several members of the group, one of whom was a well-known authority on television from the east, took turns attempting to explain the question, but all found themselves stymied. Adams, who was also present, was finally induced to straighten out the situation. He explained the circuit as no one else could, simply because he alone had developed it, bringing television that much closer to perfection.\n\nRoy Adams and his present receiver, which cost him about $125 to build. A new receiver is under construction.\n\n172 American Cinematographer \u2022 April, 1939\n\nWINNER.\n\nTO MUSIC\nBy William Stull, A.S.C.\nPart II\nScoring \u201cBeyond Manila\u201d\nW.G. Hahn\u2019s colorful three-reeler,\nBeyond Manila's musical background must be varied to match its extensive scenery and action. Pietro Mascagni's \"Die Rantzau Overture,\" as recorded by the composer and a symphony orchestra on Columbia G-50238-D, opens the score. \"Air de Ballet\" from Massenet's \"Scenes Pittoresques\" suite, recorded by Pierre Chagnon and a symphony orchestra on Columbia 50509-D, follows. I then played the other side of the first record, \"Iris Dances,\" also recorded by Pietro Mascagni and a symphony orchestra on Columbia G-50238-D. This continues until the title introducing a sequence about \"the Philippine West Point\" requires a change.\nIn music, Sousa's Band plays \"El Capitan March\" (Victor 20191) as the \"future generals\" march on screen. The second reel opens with tribal dances, which can be accompanied well by Ketelbey\u2019s \u201cJungle Drums,\u201d played by the composer and his orchestra on British Columbia 9862. At the end of this sequence is one filmed on a Philippine golf-course, followed by one showing an idyllic tropical beach. In the middle of the golf sequence, the music can change to \"Song of the Nightingale,\" from Napravnik\u2019s \u201cDon Juan,\u201d played on H.M.V. D-1488 by Etore Panizza and members of the La Scala orchestra. The cue for the next music change is a shot of a huge log being snaked along a mountainside by an overhead cableway. Here, the logical music is Ippolitow-Iwanow\u2019s \u201cIn the Mountain Pass,\u201d played by Rosario Bourdon and the Victor Symphony Orchestra on Victor.\nA musical purist could find fault with the music used for the final reel of the film as no bona fide Philippine music was available, and I had to substitute whatever seemed appropriate \u2013 even though it had no titular connection with wild Igorotes. Titles are not always a guide to picture suitability!\n\nThe music opens with Part 1 of \u201cNoche de Arabia,\u201d performed by the composer, Enrique Fernandez Arbos, and the Madrid Symphony Orchestra on Columbia 67607-D. Then, violating one of my pet taboos, I reluctantly turn the record over (since I could find nothing better with which to continue!) and play Part II of the same piece on the opposite side.\n\nFollowing this, we play only the Part II side of Billy Mayerl\u2019s tone poem \u201cSennen Cove,\u201d recorded by the composer and the Court Symphony Orchestra on Columbia record 50204-D.\nThe score concludes with a cue from the title \"A bountiful harvest calls for a 'canao' celebration\" and changes to the \"Dagger Dance\" from Victor Herbert\u2019s opera \"Natoma,\" performed by Arthur Fiedler and the Boston Pops Orchestra. For the running shots in Earl Cochran\u2019s \"Hot Water,\" I selected a medley of historical German marches, \"Grosses Chronologisches Potpourri,\" Part II, played by Dr. Hermann Schmidt and a Military Band on H.M.V. record EH-534. By a lucky chance, the changes are in:\n\nLeft to right: Clifford W. Smith, vice president and general manager of Erpi activities.\nScene 1 (Fade-in): Closeup. A roadside \"welcome\" sign on the outskirts of town at the city limits.\n\nScene 2 (Medium): A strip of highway with a welcome sign in the background. Dolly back for effect.\n\nScene 3 (Medium): Same as scene 2. A car loaded with luggage enters the scene. Its driver and sole occupant is Bill Stevens. The car stops beside the sign.\n\nScene 4 (Closeup): Bill at the wheel of the car, looking at the sign and smiling to himself contentedly. To him, the sign's message represents the start of a new journey.\nScene 5 (Medium). Car leaving scene down the highway toward town, away from camera (Fade-out).\nScene 6 (Long). Exterior of Mitchell home showing house-front, walk and street curbing. Bill drives into scene and up to curb, leaves car, walks briskly to front door and rings bell.\nScene 7 (Medium). Bill ringing bell impatiently. Door opens with Florence standing in doorway. They are old friends and overjoyed at seeing each other. She asks him in.\nScene 8 (Medium). Mitchell hallway or foyer. Bill removes his hat and places it on a small table by the door. Florence leads the way to a couple of chairs in the living room.\nScene 9 (Close-up). Bill's hat on one end of the hall table.\nScene 10 (Medium). Florence and Bill.\nBill and Florence seated in the living room animatedly.\n\nScene 11 (Closeup). Clock in the room denotes a few minutes after 12, noon.\n\nScene 12 (Long). Same as scene 6.\n\nAnother car drives up to the curb behind Bill\u2019s. Ted Mitchell gets out, pauses a moment wondering whose car is parked in front of his house, then walks briskly to his front door and enters his house.\n\nScene 13 (Medium). Mitchell hallway. Ted closing door from inside. Tosses his hat on the other end of the same table on which Bill\u2019s hat lies. Enters living room.\n\nScene 14 (Medium). Mitchell living room. Florence and Bill arise as Ted enters. Everybody is glad to see everybody else. Ted greets Florence with a kiss.\n\nScene 15 (Closeup). Ted and Florence kissing.\n\nScene 16 (Medium). Ted shaking hands with Bill.\n\nCast:\nBill Stevens, a returning prodigal.\nTed Mitchell, his former bachelor pal, now married.\nFlorence Mitchell, Stevens' wife, and Edith Stone, a young woman of leisure, bachelor-play-girl type, Marge Williams, an adolescent, gossipy hoyden, an extra couple in a car.\n\nProperties:\nTwo men's hats of the same popular make, style, color, and size; one automobile loaded with luggage; two other autos, one preferably with the top down; one office desk and a couple of chairs; one liquor bottle and two glasses; telephone and phone book.\n\nWith Bill as Florence leaves his embrace. All seat themselves for a visit.\n\nScene 17 (Closeup). Two hats on the table. They are identical in make, style, color, and size. The hats slowly fade out.\n\nScene 18 (Medium) (Fade-in). Living room where Florence, Ted, and Bill are seated visiting. The visit ends, and Bill, arising to leave, makes his respects.\nBill moves towards the front door, Ted and Florence following.\n\nScene 19 (Medium). Mitchell hallway. Bill carelessly picks the wrong hat off the table and bids his friends farewell, exiting through the front door.\n\nScene 20 (Long). Exterior of Mitchell home. Bill briskly leaves the front door and crosses to his car, entering and driving away. Bill's car drives away (Fade-out).\n\nScene 21 (Fade-in) (Long). Exterior of Edith Stone's home, showing front door, walk, and street curb. Bill's car drives up to the curb. Bill leaves the car and goes up to the door, ringing the bell.\n\nScene 22 (Medium). Bill rings the doorbell. The door opens and Edith stands in the doorway, dressed as a bachelor girl. The \"V\" of her revealing blouse is well open, partially exhibiting a lovely figure. She is happily surprised. They are old friends. She asks him in. He enters.\nScene 23 (Medium): Inside Edith's entryway. Bill tosses his hat onto a nearby chair and takes Edith in his arms. She yields to his kisses again and again.\n\nScene 24 (Close-up): Bill and Edith kissing.\n\nScene 25 (Medium): Arm in arm, they enter her living room.\n\nScene 26 (Medium): Edith's living room. Edith and Bill seat themselves on a davenport, talking animatedly. They haven't seen each other for a long time and are very old friends. (Fade-out.)\n\nScene 27 (Fade-in) (Long): Exterior of Edith's house. A car drives up, preferably with the top down, and stops behind Bill's car. Its occupants are the extra couple. They sit in the car while the driver sounds the horn.\n\nScene 28 (Close-up): The hand of the car's driver repeatedly pushes on the horn button.\n\nScene 29 (Medium): Edith's living room. Edith and Bill are still talking. Hearing the car horn, both arise and go to the window.\nScene 30 (Long): Exterior of Edith's house. Edith and Bill come out running to the car at the curb.\n\nScene 31 (Medium): The car and its two occupants. Bill and Edith enter the scene and lean over the car doors. There is much handshaking and kissing (at the director's discretion) and animated conversation.\n\nScene 32 (Medium): From the street side of the car, the driver wants to take Bill somewhere and show him something. By holding up his hand with fingers extended upward in a natural gesture, he indicates it will only take five minutes.\n\nScene 33 (Medium): Back on the sidewalk side of the car, Bill makes his excuses to Edith, gestures that he'll be back in five minutes, and, as Edith encourages him to go ahead, he slides into the car.\nThe couple waves to Edith from the front seat as the car drives away, leaving Edith standing on the curb.\n\nScene 34 (Medium). As Edith turns to enter her house, Marge Williams, the neighborhood pest, approaches on foot. Edith greets Marge politely but not warmly. She dislikes Marge intensely but cannot afford to be rude, as Marge is a mean little gossip. Marge, on the other hand, socially aspires to be an intimate friend of Edith's.\n\nWhen Marge gestures to the departing car with raised eyebrows and asks Edith who it was, Edith smiles and evades the question, touching Marge's dress and complimenting her on it. Spreading the skirt with a hand on each side, Marge says she likes it too or something, and persists in clinging conversationally.\nScene 35 (Medium). Interior of Edith's entryway. Edith motions Marge to wait there, that she'll be back. Edith exits through the living room. The minute she's gone, Marge snatches up the man's hat she sees on the chair. She scrutinizes the hat for initials. Finding none, she looks on the underside of the hatband. What she sees there widens her eyes in surprise.\n\nScene 36 (Insert). Hatband of hat turned out revealing underside where pasted is a rather large paper label on which is printed in ink in large capital letters:\n\nTED MITCHELL\n- Lookout Dr.\n(Check that house number matches and that towns coincide.)\nScene 37 (Medium): Marge turns hatband back and quickly drops hat back on chair as Edith returns with a glass of water. Marge sips water, thanks Edith, and leaves.\n\nScene 38 (Long): Exterior of Edith\u2019s house. Marge leaves by the front door and hastens down the sidewalk away from the camera (Fade-out).\n\nScene 39 (Fade-in) (Long): Exterior of Edith\u2019s house. A car containing the couple whom Bill drove off pulls up to the curb. They pause only momentarily. Bill drops off and, with an interchange of waves, the car leaves. Bill hastens to Edith\u2019s front door, where Edith, having heard the commotion, stands in the door waiting.\n\nScene 40 (Medium-close): Bill and Edith having a sweet love scene in her entryway. Bill waves his hand toward his hat and, picking it up, begins saying au revoir with more kisses, but Edith insists that he stay and pushes him back inside.\nScene 41 (Medium): In the living room, John leads a woman to the doorway for a kiss. (Fade-out)\n\nScene 41 (Medium): Street and sidewalk exterior. Marge, the mean girl, walks towards the Mitchell home with a determined expression. She rings the doorbell. (A dolly shot might be made here.)\n\nScene 42 (Medium): The Mitchell front door. Marge rings the doorbell and is admitted by Florence.\n\nScene 43 (Medium): Interior Mitchell hallway. Florence and Marge. Since it's clear that Marge has come to the Mitchell residence to tattle on Ted to Florence, she won't need much gesturing or pantomime to convey her discovery of Ted's hat at the somewhat gay bar.\nEdith and Bill are still standing in the living room doorway of Edith's entryway.\n\n(Previously, Edith was anathema to many young wives. Florence, who was incredulous, changed her attitude immediately after Marge left. Florence was worried, thinking she had finally received what many wives experience in a hectic day and age. She wandered through the house in a daze, opening and reading old love letters in the bedroom and studying herself in various mirrors.)\nScene 45 (Medium-Close): Bill at telephone. He looks up number in book. Then he dials it.\n\nScene 46 (Medium): Ted Mitchell sitting at his desk. He answers phone.\n\nScene 47 (Medium): Cut back to Bill, who looks at watch or clock as he talks.\n\nScene 48 (Insert): Clock or watch shows 4 p.m.\n\nScene 49 (Medium): Ted at phone also looks at watch while phoning Bill, and nods affirmatively. Finally, he hangs up.\n\nScene 50 (Medium): Bill hangs up and tells Edith that he must really go this time. He kisses her again and leaves. (Fade-out.)\n\nScene 51 (Medium) (Fade-in): Ted's office. Bill sitting in nearby chair. Ted\nBill rummages in the bottom drawer of his desk and pulls out a bottle and two glasses. As they begin \"to have one\" \u2014 (Fade-out.)\n\nScene 42 (Fade-in) (Medium). Bill and Ted in Ted's office, laughing. The bottle is empty. They rise to leave. For the first time, they notice they have identical hats. Amid more laughter, each finds he has been wearing the other's hat all afternoon, probably mixed up at Ted's house at lunchtime. They leave the office arm in arm, quite \"high\" in spirits, and laughing uproariously. (Fade-out.)\n\nScene 53 (Medium) (Fade-in). Mitchell living room. Florence sitting and slightly brooding. Her husband enters with Bill, both laughing at a traveling salesman's story Bill has told Ted. Florence feigns gaiety as she greets the pair and kisses Ted. Suddenly, Bill, laughing, volunteers the story about how their hats got switched.\nScene 54 (Close-up). Florence. She doesn't know what to believe. As described by Bill, the changed hats idea was told too forcefully to be convincing. It seems that Ted has a guilty conscience or something, and the pair of old pals have framed an alibi. For the time being, she decides to do nothing and say nothing about it. But she is wondering plenty (Fade-out).\n\nAgfa Announces New Photographic Papers\nTwo new photographic papers, products of recent research in emulsion making, have just been announced by Agfa Ansco Corporation. These new products, Cykon for contact prints and Cykora for projection prints, bring to photographers emulsion refinements that have previously been considered unattainable.\nThe new papers offer improved, full-scale tone ranges, resulting in greater beauty and better tone reproduction in final prints. Suitable for various subjects, from portraiture to pictorial and illustration work, these two papers have inherent warm tones. A wide range of surfaces is available on double weight stock, including Kashmir in white and ivory, crystal white, silk white, and royal white, as well as fabric white, porcelain white, and porcelain ivory. The Cykora line will be supplied in three grades of contrast for all surfaces.\n\nThe contact paper (Cykon) and projection paper (Cykora) share similar characteristics, except for speed; they provide rich, warm-black tones.\nThat which can be controlled over a wide range through modification of development or after-treatment. A wide developing latitude can be obtained in standard formulas, and usual processing techniques are followed.\n\nKodascope Libraries Being Discontinued\n\nBecause most leading dealers in amateur movie equipment now have their own libraries of silent and sound films for entertainment purposes, and likewise frequently represent other sources of 8mm and 16mm releases, the Kodascope Libraries Division of the Eastman Kodak Company will be discontinued, effective April 1.\n\nAmerican Cinematographer 175\n\n20th Century-Fox Finds New Fluorescent Mazda Lamps Big Help to Make-up\nClay Campbell says: (Director of make-up for 20th Century-Fox)\n\"It's the best lighting system that I have ever used.\"\n\nThis new lighting system pioneered at 20th Century-Fox, using Daylight Fluorescent lamps.\nFluorescent MAZDA lamps are typical of recent installations in make-up departments of several studios. They provide over 15 footcandles of glareless illumination and have a heat reduction of 50% compared to conventional tungsten lighting. This significantly contributes to the comfort of make-up staff, film artists, and studio officials.\n\nMoreover, the color quality of this new Fluorescent lighting, the nearest approach to natural daylight ever achieved directly by any artificial illuminant, has proven excellent for both Technicolor and black-and-white make-up.\n\nGood for close-up shots. Used as a front light for close-ups of faces, the new Daylight Fluorescent MAZDA lamps provide a splendid glareless foundation light, particularly with the new, faster film. Cinematographers note that the way its soft, blue-white light tends to iron out wrinkles is effective.\nMarvelous! Have you tried it? G-E Fluorescent MAZDA lamps are available in daylight, red, blue, green, pink, gold, and white; and in 18, 24, and 36 inch lengths. This installation was designed and constructed by W.T. Strohm, Chief Engineer of 20th Century-Fox. It employs twenty-eight of the new Day-light Fluorescent MAZDA lamps to provide glareless light, of daylight quality. Clay Campbell, Director of Make-Up for 20th Century-Fox, is shown applying make-up to Binnie Barnes, a popular screen artist, for her latest picture, \u201cWife, Husband and Friend.\"\n\nGeneral Electric\nMAZDA Lamps\n\n\"176 American Cinematographer \u2022 April, 1939\n\nJoan Bennett in Edward Small production is photographed by Charles Rhodes using Baby Keg-Lites.\n\nCommercial men interested\n\nArchaic methods of lighting, cumbersome equipment, were drawbacks, but lighting engineers today have overcome\"\nLeft: close-up B-M quick focusing device for Baby Keg-Lite. Right: close-up B-M quick focusing device for 2000-watt spot.\nApril 1939 \u2022 American Cinematographer 177\nThe dozen and more special features that are daily establishing the Baby Keg-Lite as a boon to their work.\n\nCharles Rhodes, a prominent motion picture magazine photographer, made a fashion sitting of Miss Joan Bennett, who is currently co-starring with Louis Hayward in \u201cThe Man in the Iron Mask,\u201d an Edward Small production for United Artists release at General Service Studio. Rhodes found the Baby Keg-Lites gave him such an even white light that his subject was absolutely without light consciousness, a most happy result as every still photographer knows.\n\nRhodes, who has photographed nearly every star in the motion picture business, was particularly impressed by the ease with which the Baby Keg-Lites functioned.\nWith this new light type, Bardwell-McAlister operates it, along with the fact that it is perfectly designed for the type of \"shooting\" he did with Miss Bennett. Hollywood men specializing in color photography seek enlightenment from Bardwell-McAlister about the Baby Keg-Lite. This is a small, lightweight unit, designed for use as a key light, and for special effects requiring this size and intensity. For the information of these men, Bardwell-McAlister has prepared a special bulletin describing the lamp.\n\nThe Baby Keg-Lite is equipped with the Fresnel type lens instead of the old plano-convex condenser. The Fresnel lens has a shorter focus with a wider beam pickup from the light source. (Continued on Page 186)\nWith color photography making rapid strides in the commercial still field, lighting engineers have been hard-pressed to keep up with the pace of improvement daily taking place in portrait galleries. It seems but a comparatively short time ago that color was first introduced in national magazines. Advertisers were quick to pick up the medium, which many of them believe far outshines black and white in reader appeal. Today few national magazines can be found on newsstands that do not contain a goodly percentage of color advertisements. Daily and Sunday newspapers in their rotogravure and magazine sections are going heavily into color. This demand for color in portraits and commercial art naturally brought about an insistence upon new methods of lighting.\nThe new Agfa Memo, the long-awaited American-made miniature camera, has been announced and is being shown by photographic dealers. This new Agfa Memo is the result of several years' work in refining and improving the original Memo camera, which did much to initiate the widespread adoption of miniature outfits using 35mm film. The new model answers the demand for easily handled lights such as the 500 and 750 watt Bardwell and McAlister Baby Keg-Lites, which have gained great interest and demand from both the commercial field and motion picture studio. Color portrait photographers have hailed the new lighting.\nEveryone interested in picture taking will want to see the new, precision-built B&H Take Over Release of the Universal 16 mm. The following ten Universal feature films will receive distribution through Bell & Howell's Filmo-sound Library instead of the Eastman controlled Kodascope Library: \"Show Boat,\" \"My Man Godfrey,\" and others. This change, effective March 31, adds these films, as well as fifteen short subjects, to the existing twenty-seven features, three serials, and fifty-five shorts.\n\nThe switch was occasioned by the Eastman Kodak Company's transfer of film rental activities to its retail stores.\nThe fifteen Universal films, including Oswald Rabbit cartoons, Lowell Thomas travelogs, Mentone musicals, and several comedies, have already been handled by Bell & Howell. The conditions for distributing these Universal films remain virtually unchanged, with no formalities required for showings in private homes. However, in all other locations where competition with established motion picture houses exists, prior approval from Universal is required before supplying the films. Rentals can be made through local motion picture dealers or through Filmosound Branch Libraries in New York, Chicago, and Hollywood. A new catalog describing these and other recent film additions will be sent free upon request to any 16 mm. sound film user.\n\nAgfa Ansco\u2019s new f:3.5 Memo Camera.\nThe new Memo camera includes a range of exceptional features. It utilizes a \"double-frame\" miniature with perforated 35 mm film, producing 24 pictures, each 1-7/16 x 15/16 inches in size, per film cartridge. Equipped with an Agfa Memar f3.5 corrected anastigmat lens, this model offers focusing from 3.5 feet to infinity. A new and improved shutter is incorporated, providing speeds from 1/2 to 1/200 second, bulb, and time.\n\nConsideration was given to the essential parts for highest quality results in the design and construction, with non-essential accessories and attachments omitted to keep the camera affordable for miniature camera enthusiasts.\n\nTwo notable and newsworthy features of the Memo are its innovative film loading and transportation mechanisms.\nThe Memo cartridge, widely sold, eliminates threading and simplifies loading. Supplied in four popular types of Agfa film: Superpan Supreme, Ultra-Speed Pan, Finopan, and Fine-Grain Plenachrome. The film transport mechanism uses a patented sliding lever, advancing film in one rapid motion without winding or window watching. The new Agfa Memo is finished in polished metal, black lacquer, and black morocco leather. Notable compactness is achieved by a pressed-steel frame and a hinged front platform that snaps quickly into picture-taking position. Standard equipment includes a brilliant, direct viewfinder; neckcord and eyelets; accessory clip; tripod socket; automatic exposure counter; and built-in depth of field scale. In addition, color filters, sunshades, and eveready leather carrying cases will be supplied.\nThe new Memo camera, made by Agfa Ansco Corporation in Binghamton, New York, is now in stock at photographic dealers and retails at $35. \"Beyond Manila\" was voted top place at a recent two-hour showing of prize films at the Indianapolis amateur club. Two meetings are held each month in the club's rooms in the Indiana World War Memorial. The \"Manila\" picture made such a strong hit with members that an application was made to see \"Nation's Children\" as soon as it can be arranged by the magazine.\n\nThe most widely used 16 mm. movie camera, now only $80 with #'.1.9 lens. Year in, year out \u2014 Cine-Kodak K has led the 16 mm. field.\nThe ultra-fast Kodak Anastigmat /.1.9 lens, focusing from 2 feet to infinity, is interchangeable with six telephoto lenses and a wide-angle lens. The \"K\" model has both eye-level and waist-height finder systems, two speeds \u2014 16 and 8 frames per second, automatic footage indicator, built-in exposure guide, loads with all Cine-Kodak black-and-white films and both regular and Type A Kodachrome. It is richly finished in genuine leather and chromium. Anil it's now priced at $80 or $1.50 with a de luxe carrying case for the camera, film, and accessories.\n\nEastman Kodak Company, Rochester, N. Y.\nCine-Kodak and Kodascope\n\nCine-Kodak Eight, Model 20, makes movies in black-and-white or full-color Kodachrome. It is fitted with a precision-made Kodak Anastigmat /.3.5 lens \u2014 fixed focus, automatic footage indicator, full-vision eye-level finder incorporated in snap-back carrying case.\nThe handle is securely fastened with a winding key, has a built-in exposure guide, and a self-locking exposure button for getting into the picture. Price: $29.50.\n\nKodascope Eight, Model 20, is motor driven, rewinds by motor, has a still picture attachment, and is simple to operate on 60-cycle, 105- to 125-volt AC lines. CINE-KODAK EIGHT and KODASCOPE EIGHT, Models 20 \u2013 the popular 8 mm. movies \u2013 are now $29.50 for the camera and $24 for the projector. A thoroughly competent 8 mm. movie outfit for just over $50!\n\nThe Cine-Kodak K/.1.9 \u2013 the 10 mm. camera used by most movie makers \u2013 is now priced at only $80.\n\nTheir popularity explains their new low prices.\nTheir ability explains their popularity.\n\nApril, 1939 \u2022 American Cinematographer 179\n3-Way Microphone\nAnnounced by RCA.\nA single microphone, featuring in its compact, streamlined case the characteristics of three different types, has been announced by the RCA Manufacturing Company. This versatile unit is suitable for radio, movie, or public address use. A handy switch at the base allows for instant transformation between unidirectional, bidirectional, or nondirectional modes.\n\nDeveloped in the same RCA research laboratories that produced the first ribbon type velocity microphone and the first unidirectional cardiod pattern microphone, this new unit offers limitless applications in radio studios, on movie sets, in auditoriums, night clubs, and any indoor or outdoor location where an ordinary velocity, pressure, or unidirectional microphone proves insufficient for every application. It is designated as Model 77-C.\n\nWith the control switch in the unidirectional position, the instrument picks up sounds from the front and rejects those from the sides and rear.\nThe microphone functions as a bi-directional velocity instrument, responding only to sounds reaching the front or live side. In the third position, the control switch allows sounds coming from any angle to be picked up. The microphone is essentially two mikes in one \u2013 a bi-directional velocity microphone and a non-directional pressure instrument. The output of each goes to the control switch, which activates one or the other, or both. When connected in series, they provide uni-directional response. Due to its small size (2.5 inches x 8.5 inches), the three-way unit is ideal for use by speakers or singers before an audience. It is not large enough to act as a barrier and can be adjusted instantly to pick up or \"ignore\" audience reaction.\nIn a small broadcasting studio, space can be conserved by using it as a unidirectional microphone and placing it against a wall or in a corner. Its value is also apparent for use with public address systems, particularly portable types, due to its adaptability and light weight (two pounds).\n\nIts directional characteristics are uniform at all frequencies, an advantage which has been accepted by many engineers as exclusive to velocity-type microphones. This has been accomplished in the 77-C by using ribbon units for both the velocity and pressure sections.\n\nThe 77-C microphone has a uniform frequency response from 40 to 10,000 cycles. Despite its small size and light weight, a high order of sensitivity (-62 db for a 10 bar signal) has been achieved through new structure design and the use of new magnet material.\n\n77-C microphone.\nThe February meeting of the La Casa Movie Club in Alhambra featured many films made recently by members. Excellent work was shown in the filming of the Rose Parade on January 1st at Pasadena by Powell, Gardner, Haynes, and Winchester, who presented the parade in color. Mr. Gaylord displayed fine films, including one depicting Christmas with his small daughter as the star and another titled \"Happy Birthday.\" These two films were made indoors and in color. Mr. Korns gave an interesting talk on \"Helpful Hints,\" and Mr. Manuel presented a talk and color footage from his recent trip to Florida. The sixty-five attendees voted the meeting a success.\n\nPrice Reductions by B & H\nB'ell & Howell notified its dealer organization of the news of an entirely changed sales setup, involving new motion picture camera and projector equipment.\nTor models come with sweeping price reductions, simplified lines, and replacement of catalog letter-and-number designations with easy-to-remember proper names.\n\nJ. H. Booth, Bell & Howell's general sales manager, announced to dealers that completely discontinued models will not be subject to the Bell & Howell retailer fair trade agreement after March 1.\n\nBesbee Reel Clip: Fastens Film Ends on Projection Reels\n\nThe small, non-complicated gadget meets a real need with the new Besbee Reel Clip. This device, in a simple and quick-acting way, solves the problem of fastening film ends on any 8mm. or 16mm. projection reel, large or small.\n\nThe Reel Clip is a small, handy metal device with spring fingers that may be pushed easily between the reel's ends to secure the film.\nThe flanges of any movie reel and holds the film securely in place. It retains the film firmly yet is easily removed or replaced. The Reel Clip is provided with a matte outer surface, upon which the film title, number, or other distinguishing mark, may be easily written in ink, crayon, or pencil.\n\nThe device is finished in brushed aluminum and is provided with small clips which fit easily into the perforations of the film, thus holding it securely. It does away with awkward spring band film retainers or with rubber bands which invariably slip off the outer diameter of the film and nestle at the center of the reel, where they are impossible to reach with the fingers.\n\nThe clips come packed in boxes of one dozen, either in the 8mm. or 16mm. size.\n\nBesbee Reel Clip designed to fasten ends on 8mm. or 16mm. film.\n180 American Cinematographer \u2022 April, 1939\nART REEVES\nMotion Picture Equipment\nStudio and Laboratory Tested Since 1929\nFeaturing:\n- Re-recording: First Independent Re-recording System for Putting Sound Tracks Together. Have Built Many Re-recording Systems in the Past Ten Years. This New 1939 System Is Built for Independent Field and Is Not Made with Projecting Machine Parts, But It Is Designed for Up-to-Date Sound Quality.\n- Automatic Developing Machine\n- Sensitester\n- Variable Density Sound System\n- Variable Area Sound System\n- Single System\n- Re-recording System\n- Microphone Boom\n- Reeves Lites\n- Sound Accessories\n- Laboratory Accessories\nART REEVES\nCable Address: ARTREEVES\n7512 Santa Monica Blvd. Hollywood, California, USA\nApril, 1939 - American Cinematographer 181\nPHILADELPHIA CINEMA\nHolds Third Annual\n\"Mighty Summits,\" the epilogue, so to speak, of the late Ripley W. Bugbee,\nThe president of the Philadelphia Cinema Club exhibited \"Mighty Summits,\" a 1600-foot all-color presentation taken in the Canadian Rockies at varying levels up to and including the peak of Mount Robson, some 12,000 feet above sea level, for sheer scenic beauty, for the first time to members and guests of the club at the third annual banquet, February 28 at McCallister\u2019s in Philadelphia.\n\nThis film will go down as one of the finest travel pictures it has been our pleasure to see. Musical scoring, via the double turntable system, was provided by Robert W. Crowther. Editing and titling were done by Mrs. Bugbee, ably assisted by Mr. Crowther.\n\nThe privilege of the 300 members and guests assembled at this banquet was to see this presentation as well as to enjoy the principal speaker of the evening, Dr. Calvin O. Althouse.\nWalter Fogg discussed his views on Hollywood, having had the opportunity to study the motion picture industry firsthand. Fogg, a member of the Society of American Magicians, proved to the audience that an ordinary patter accompanying tricks could be adapted to suit a particular group. He varied his talk to pass it on films and photography in general. Instead of the customary animals pulled out of hats, Fogg was able to pull films, film containers, and other accessories out of his magic. It was a pleasure to host Professors E.B. Perkins and Dr. Marshall Smith of Rutgers University. Through Dr. Althouse's courtesy, we were able to listen to some marvelous singing.\nThe musical background for Station KYW was provided. A group of twenty-five door prizes was available through the courtesy of local photographic dealers. Fun was had in the distribution of these prizes, won through a special drawing conducted by Mr. Rasch, assisted by Mr. Hoot. The banquet will long be remembered as a fitting climax to the third year of the Philadelphia Cinema Club.\n\nThe March contest of the Philadelphia Cinema Club was divided into two groups: 16mm. and 8mm. Films submitted and their ranking were as follows:\n\n16mm. Group:\n1. \"Dance Date,\" John Bessor and James MacLane\n2. \"Our Southern Highlands,\" George Pittman\n3. \"The Night Before Christmas,\" A.F. Munsell\n4. \"Westgate Hills,\" Paul Gelzer.\n\nPhiladelphia Cinema Club celebrates at banquet successful conclusion of third year.\n8mm. Group: Toby the Pup (Rev. Ernest Vandenborch), Odds and Ends (Arthur Hurth), The Zoo (Frank Hirst.. 16mm. films were Kodachrome, 8mm. monochrome. Prize awards were made to first and second ratings in each group. One 16mm. film and 8mm. film introduced movie tricks into the scenario, and both used the animation of toys to perform these feats. Unfortunately, due to pressure of other work, our newly re-elected secretary-treasurer, Horace Wilson, was forced to resign. George Pittman, also a charter member of the organization, was unanimously elected secretary-treasurer for the ensuing year. Our officers for the ensuing year are: A.L. O'Rasch, president; Robert W. Crowther, vice president; George Pittman, secretary-treasurer. The constitution has been amended to provide for an increase in membership.\nUp to 100 members, and at the same time officers were authorized to consider delinquent anyone whose dues were not paid within sixty days after April 1st. R.N. Levene, Chairman of Publications Committee, Los Angeles 8mm Club. The March 14 meeting was held at the Bell & Howell auditorium, 716 North La Brea avenue. President Leitch introduced three members of the Pomona Movie Club, who were guests at the meeting. Vincent Hague spoke of a novel still camera club sponsored by Radio Station 182. The meetings of which are held at places especially selected for providing an evening's shooting by the members, with sets, lighting, models, and prizes arranged for by the radio station. A suggestion was made that club members interested in this type of filming contact the station. President Leitch announced that Rob---- (text incomplete)\nTeorey, editor of \"Thru the Filter,\" due to business pressure, would be unable to continue his duties. This important position would be filled by Claude Cadarette. The new editor then called on Orrin Williams, Irwin Dietze, William Parsons, John Northrop, and Dr. Edward Boiler to finish articles for the April issue. Mrs. H.J. Barney was appointed to cut stencils, and Courtney Dow was named official crank turner.\n\nMembers were notified of the 50-foot reel contest to be held next month. The semi-annual contest, normally held in July, has been discontinued, and in its place will be a contest for women members only, with Doris Lee and Louise Arbogast in charge.\n\nThe highlight of the evening was Randolph Clardy's premiere showing of his 8mm scenario film with sound. Perfect synchronization of music and dialogue.\nWith the use of a geared camera-recorder and projector-reproducer, Clardy has achieved films. This is believed to be the first picture of its kind, proving that nothing is impossible for the serious 8mm filmer. After a short intermission, the remainder of the evening was devoted to showing films brought in by members for analysis and criticism by the technical committee. Those contributing were Roosevelt, Teorey, Dietz, Caloia, Gavin, Harper, and Chapman.\n\nV.P. Burdick, Secretary.\nNew York 8mm Club\n\nAs a result of the increasing number of applications for admission to this growing New York group, the club voted at its February meeting to raise the membership limit to thirty. This action, along with the dropping from the rolls of inactive members, will permit the induction into the club of seven new members.\nThe film program at the February meeting featured a guest film, \"Summer Tour,\" made by Lois M. Styles, a record of a European trip with beautiful color and composition. The rest of the evening was devoted to a program of outside and members' films, including Mr. Spanier's reel made on a new Super-Pan 8 mm. film, \"New York at Work,\" a commercial reel by Kenneth Space, \"How to Use Your Camera,\" and the club interchange film, \"Leading a Dog's Life,\" a most amusing film by H. L. Thompson of the Seattle (Washington) 8mm. club. V. M. Garrett.\n\nAgfa Roll Films Now Are \"Satisfaction\" Guaranteed\n\nA small slip of paper tucked in each roll of Standard and Plenachrome film has, in recent years, come to identify Agfa film as \"guaranteed film.\" This guarantee of \"Pictures that satisfy or a refund or exchange\"\nNew roll \"free\" has been of value to camera-users throughout the country who have encountered difficulties in picture taking. The guarantee service was initiated to analyze and correct picture taking troubles experienced by amateurs. It should, therefore, be of great interest to camera users that the well-known Agfa guarantee has now been extended in scope to include all roll films made by Agfa Ansco Corporation. For several months now, guarantee bonds have been inserted in each carton of Agfa Superpan, Superpan Press, Finopan, and Super Plenachrome roll films (in addition to Standard and Plenachrome). All Agfa roll film is now backed by this unusual guarantee of complete user-satisfaction. During the several years the Agfa guarantee has been in operation, it has proven to be extremely helpful. Movies or Stillson a DA'LitE Requires U.S. Pat. Off. Glass - beaded.\nFor true-to-life brilliance and faithful reproduction of all gradations of colors, your movies and stills should be projected on a Da-Lite Glass-Beaded Screen. It reflects the maximum light yet there is no sparkling or glare. The minute glass beads, evenly superimposed on the surface, are guaranteed not to shatter off. The fabric stays white longer than any other white surface and remains pliable indefinitely. The Da-Lite Glass-Beaded Screen is the result of 30 years of leadership in screen manufacture. It is available in many types of mountings including the convenient Challenger, which can be set up anywhere in 15 seconds. Write for literature and name of nearest dealer.\n\nDa-Lite Screen Co., Inc.\nManufacturers of Theatrical and ISon-Professional screens.\nScreens with All Types of Surfaces and Mountings.\nDEPT 4AC \u2022 2723 N. Crawford Avenue \u2022 Chicago, IL\nApril, 1939 \u2022 American Cinematographer 183\n\nNew Publications\nDirectory of 16mm Film Sources. Published by Victor Animatograph Corporation, Davenport, Iowa. Seventh Revised Edition. 104 pp. and cover.\n\nThe book was designed especially to help the 16mm projector user in the choice of sources where he may buy, rent or borrow films in specific subject matter fields. For the sake of convenience, sources are classified into three general groups according to types of films distributed.\n\nA new feature of the Directory is a list of subjects and specific indication of the sources from which films may be secured in each group. During the preceding ten years, over 160,000 copies have been distributed worldwide.\n\nThe present edition is founded on the previous editions and includes all the latest information available. It is the most comprehensive and reliable guide to 16mm film sources.\nThe publishers conducted an investigation among 10,000 schools about experience gained in using visual aids. Nearly 6,000 institutions used the Directory and film directories issued by state film libraries. Attention was given to locating new 16mm. sources with sound, not just in schools but also in homes, churches, and industry.\n\nAmerican Cinematographer Hand Book and Reference Guide. Third Edition. By Jackson J. Rose, A.S.C. 218 pages plus xviii. 4 1/2 inches by 6 1/4 inches.\n\nThe Third Edition of Jackson J. Rose, A.S.C.'s Hand Book and Reference Guide frankly declares the tremendous value of this publication.\nRecent advances in film manufacture have made obsolete much hitherto standard data on film, filtering, and the like. Agfa's introduction of two super-fast films and Eastman's arrival of Plus X, Super XX, and Background X are cited as representative of these advances. In making these necessary revisions, the opportunity was seized to comply with readers' suggestions for additional information concerning studio lighting equipment, Kodachrome, Dufaycolor, and bi-pack color processes, projection tables based on standard stereopticon and mini-cam slides, as well as sound film aperture and further expansion of sections devoted to sub-standard cinematography and miniature camera photography. These and many other additions.\nThe fact that there are approximately 250 entries in the following pages indicates the variety of subjects treated in the book. Covered are all types of motion and still cameras, as well as all kinds of still and motion picture film with all accessories. The Art of Table-Top Photography. By Arthur E. Gleed. American Photo-graphic Publishing Company, 353 Newbury Street, Boston. 46pp. 5 by 11 inches. 1939. $1.25, cloth cover.\n\nFor the photographer who finds pleasure in doing miniature or trick work, there is much in this little book that will provide real entertainment.\n\nThe author, in his preface, takes issue with those who would relegate to a somewhat trivial form of humor the giving of reality to flights of imagination or adventures in the world of make-believe. He declares table-top photography an art form.\nIn the hands of a craftsman, photography can be raised to the dignity of one of the arts. The table of contents includes Introduction, Practical Details, Picture Building, Picture Composition, Photographic Details, and General Observations. There are twenty illustrations demonstrating what can be accomplished. The first, for example, is \"Nightmare,\" which shows two men on a cliff battling with knives. The second sequence reveals the weaker of the two being shoved off the cliff. Behind is a dark and forbidding sky. Below are rocks and a few trees. Abundant opportunity is presented here for ingenuity in construction, especially in view of the whole stage being confined within a space of four square feet. There are problems of lighting as well, which will give pause to the average amateur picture maker. Mini-Kinks, The Amateur Camera Guide.\nBy Stanley Carlson and Harvey Goldstein\nHuddle Publishing Company, 321 Loeb Arcade, Minneapolis, paper cover\n\nOver 250 aids to the user of miniature cameras are here furnished in brief form, the average length of each being around fifty words. Complete in its entirety.\n\nEverything Photographic\nFor Professional and Amateur\nThe World's Largest Variety of Cameras and Projectors.\n\nImprovements\nStudio\nUsed in Laboratory Equipment with Latest Hollywood Studios. New and Used\n\nSend for Bargain Catalogue\nHollywood Camera Exchange\n1600 Cahuenga Boulevard\nHO 3651, Hollywood, California\nCable: Hocamex\n\nLanders & Trissel, Inc.\nRentals - Service:\nMotion Picture Cameras - Blimps - Dollies - Camera Crane\nAnd All Accessories\n\nPhone:\n6313 Sunset Boulevard\nNear Vine Street\nHollywood, California\n\nNight\nLanders HE-1311\nTrissel - Sunset 25992\nEastern jsj\n\nHeadquarters for The '! Cameramen %\n[TPf^T>SH, BfS^SnSiaL: Cameras, STUDIO. Cutting room Equipment, LFkic, 184 American Cinematographer, April 1939, coverage treating home development in considerable detail. Comments run alphabetically, variety which may be gauged from opening paragraphs: Accelerator, Acetic Acid, Aerial Photos of Cities, Agitation, Agitation of Miniature Film, Air Motion Overcoming, Angle of Camera for Portraits, Animal Pictures, Backgrounds, Backgrounds for Children's Pictures, Building Pictures, Bulbs for Color Work, Calcium Chloride, etc.\n\nWhere and How to Sell Photographs. By H. Rossiter Snyder. CINECOLOR March 14. Flung wide the doors of its new $250,000 jobank plant, the ultra-modern concrete reinforced structure, consisting of one story and a basement, covering 45,000 square feet of a three acre site.]\nmain  floor  consists  of  executive  offices \nand  other  departments. \nUnder  personal  supervision  of  First \nVice  President  Alan  Gundelfinger,  this \ndivison  embraces  a  complete  patent  re\u00ac \nsearch  department,  technical  library, \nchemical  laboratory,  research,  control, \noptical  and  dark  rooms. \nDesigned  for  100  per  cent  streamlined \nefficiency,  the  department  is  divided  into \na  number  of  spacious  rooms  progressive\u00ac \nly  laid  out  for  camera  unloading,  nega\u00ac \ntive  polishing,  printing  of  35  and  16mm. \nfilms,  waxing,  positive  cutting,  optical \nprinting,  inspection  and  shipping.  Also \nincluded  are  a  machine  shop,  special \neffects  camera  department,  and  private \ncutting  rooms  for  clients. \nProcessing  of  all  types  of  color  posi\u00ac \ntives  is  carried  on  in  one  tremendous \nroom  70  feet  wide  by  200  feet  long. \nProcessing  of  negative  film  is  conducted \nin  a  specially  constructed  chamber. \nFor  projection  Cinecolor  has  con\u00ac \nStructured a beautiful, comfortable theater with a seating capacity of 75. All equipment is of the latest type. The basement has been designed to accommodate the 50 vats used in the mixing of chemicals for developing. These range in capacity from 1,000 to 20,000 gallons. The circulation in each vat is controlled by its own individual motor. All electrical wiring and pipes for water, gas, and the first sprinkler system have been installed in a scientifically ventilated tunnel to prevent the possibility of their being affected by chemical fumes. DC sets are also located in this tunnel. In the event of electrical power failure, an auxiliary plant will pick up the task of supplying current with a maximum interruption of only ten seconds.\n\nPublishing Company, Canton, Ohio.\n40pp. 50 cents, paper cover.\n\"Where and How to Sell Photographs\"\nNo. 4 of an entirely new series of \"Profitable Photography\" booklets by the author. How to Organize Your Efforts, New Trends of Photography, Rebirth of American Magazines, Vigorous Press Prints; Envelopes, Labels, Captions and Postage, You Don't Have to Travel, Copyrights Not Needed, Releases for Advertising Uses, Analysis of the Magazine Markets, Sports and Outdoors Magazines, etc.\n\nLocated outside the plant in the rear, with an undrillable, burglar-proof, fire-proof steel door guarding their entrance. Vaults are equipped with a fire sprinkler system and other novel safety features. They are of the same type as those used in modern banks.\n\nSince the printing and handling of Cinecolor films calls for exacting control.\nSpecial air conditioning equipment has been installed on the roof to regulate humidity and temperature throughout the building with individual sectional control. During summer months, a film of water, 65 degrees in temperature, will be continually sprayed over the roof for cooling purposes.\n\nTwo new film clips have been added to the Agfa photographic equipment line. Called \"Easy Clips,\" these new Agfa items come in two sizes: 1.5 inches wide, selling at $1.20 a dozen, and 2 inches wide, selling at $1.80 a dozen. Special lead weights, which fit these new \"Easy Clips,\" are also available at $1.20 a dozen.\n\nThe many outstanding features of the new \"Easy Clips\" make them ideal for both amateur and professional use.\nFabricated of stainless steel, they are simple to operate and provide a positive, locking grip that won't let films slip. The new Agfa film clips provide both hooks and holes for hanging purposes, have smooth, rounded corners to prevent scratching, and allow for easy attachment of lead weights.\n\nAnnouncing BM's New Type 14 2000 Watt Spot Optically Correct\n\nBardwell & McAlister, Inc.\nMotion Picture Electrical Equipment\n7636 Santa Monica Blvd.\nHollywood, California Tel. Hollywood 6235\n\nCinecolor Formally Opens Big New Plant\nApril, 1939 * American Cinematographer * 185\n\nMovola Film Editing Equipment\nUsed in Every Major Studio\nIllustrated Literature on request\nMovola Co.\n1451 Gordon St. Hollywood, Calif\n\nAfter the necessary initial focusing, the B-M Model F Sound Recording Unit never requires other adjustments. For utmost simplicity, all parts are adjusted at the factory.\nThe factory is permanently locked. Write for literature.\n\nB-M Sound Recording Unit, Model T\nThe Berndt-Maurer Corp.\n117 East 24th Street \u2022 New York, N.Y.\nB & M Lights Enter Color Field\n\nA spherical mirror is placed behind the globe to project the rear light forward toward the lens. This mirror is manufactured under a patented process which gives a hard, durable surface of unusually high reflectivity.\n\nOne of the striking features of the B. and M. products is its own quick focusing device (patent pending), which consists of a lever arm protruding from both front and rear. It is moved from side to side for focusing spot to flood. This quick focus has been an exclusive feature of all B. and M. lights.\n\nIt is a great improvement over the old-fashioned method of turning a small wheel.\n\nPeninsula Cine Club\nAt the parsonage of the First Christian Church\nA committee representing the Peninsula Cinema Club conferred with a committee appointed by the Monterey, California church for perfecting plans for the proposed documentary record in 16mm. black-and-white of the church ceremonies on April 22 and 23, commemorating the forty-fifth anniversary of the organization of the church.\n\nThe congregation was represented by the minister, Rev. James H. Woodruff, S.T.M., Mr. and Mrs. H.C. Steinmetz, Mr. and Mrs. Charles Bell, and Mr. and Mrs. W.J. Allen, all of Pacific Grove. Appearing for the Cinema Club were Mrs. Juanita M. Pugh, Harold H. Daugherty, and Gilbert I. Rhodes.\n\nThe complete record of the church, along with a written account of the early struggles and final organization of the congregation, were laid before the camera.\nA simple mechanism focuses a high lamp by exerting slight pressure against the protruding arm. The Baby Keg-Lite operates in absolute silence from a 4 degree spot to a 44 degree flood. Proper ventilation lowers the burning temperature, increasing the globe's life and minimizing softening or blistering. Photometric tests show the correct color temperature for color stills. Baby Keg-Lites are in use at Warner Brothers, Twentieth Century-Fox, Paramount, General Service Studios, R.K.O., and other producing units. A joint committee selected them for photographing the original covenant, first roster.\nmembers the register of ministers and the first hymnal. A complete continuity was then carefully planned and arrangements perfected as a cooperative club project for the filming of this event for the permanent records of the church. Following the regular business meeting of the club on February 15, the following films were screened: A short 16mm. black-and-white subject, \u201cAdventures in Photomacrography,\u201d by Gilbert I. Rhodes; two remarkable 400 foot 16mm. Kodachrome reels sent by Doctor Fisher of San Francisco, entitled \u201cYosemite\u201d; two subjects filmed by Dr. G. V. Rukke, \u201cCalifornia Missions\u201d and \u201cPasadena Rose Parades,\u201d and two excellent reels of 8mm. Kodachrome by Lieut. Thomas Gillis of Monterey Presidio, \u201cAlaska\u201d and some highly interesting local material.\n\nFAST FILM or SLOW there is a SOLARSPOT for EVERY lighting need\nMOLE-RICHARDSON CO.\n941 No. Sycamore Ave., Hollywood, Calif. Cables: \"Morric\" COOKE CINE LENSES Help the industry progress by meeting today\u2019s needs ideally by being fully capable of satisfying the future\u2019s ever more exacting requirements. Focal lengths for every need. Write for descriptive literature.\n\nBELL & HOWELL COMPANY Exclusive World Distributors of Taylor-Hobson Cooke Cine Lenses 1848 Larchmont Avenue, Chicago New York: 30 Rockefeller Plaza Hollywood: 716 N. La Brea Ave. London: 13-14 Great Castle St. 186 American Cinematographer\n\nSpyros Skouras Opens U.S.C. Second Semester\n\nSpyros Skouras, head of National Theaters Corporation, and in the movie capital on one of his periodic visits from New York, opened the Fox-West Coast sponsored course in distribution and exhibition at U.S.C. for the second consecutive year, beginning in the second semester of the school year, 1938-39.\nCharles A. Buckley, head of Fox-West Coast's legal department, continues as instructor in this popular course. Boris Morros, former head of Paramount's music department, and now an independent producer, was unable to open his second semester course in cinema music due to pressing business in New York and Paris. The course, as a result, has been continued by capable lecturers from Paramount and Warner Brothers' music departments. Morros will resume direction of the class immediately upon his return to Hollywood. Walter Scott, assistant to Dean Rabenheimer of the College of Letters, Arts and Sciences, continues for the second successive semester his popular course in story and continuity. Unfortunately, for the regular day students, the course is held at downtown headquarters in the Transportation Building, primarily for adult night school.\nenrollees make the trip downtown for instruction under Scott. Campus students, when possible, are doing this. If this trend continues, Scott may be called back to the regular campus in response to student requests. Kappa Delta Alpha, the campus cinema organization, has started working on a biblical theme for production on 16mm. and incorporating stock shots of Jerusalem taken by one of the faculty. Student groups buzz with the rumor that Dean Raubenheimer, executive head of the College of Letters, Arts and Sciences (which includes the department of cinematography), is contemplating a general reorganization for the coming school year. The department has applied for a leave of absence during the coming year. Donald Duke successfully premiered his 16mm. production on Modern Dance last March 1st.\nThe department of physical education participated in a program bringing out over 250 persons to see the film. The production was enthusiastically received, and Duke was wholly successful in conveying to the screen the various training steps incorporated in modern interpretive dancing. A piano accompaniment was skillfully played, making the presentation indistinguishable from a synchronized recorded underscore.\n\nJ.V. Wood, S.AC.\nPolaroid Booklet by Leitz\n\nThe Stereoly polaroid system of three-dimensional projection has excited interest where it has been demonstrated. Since its introduction less than a year ago, many organizations and individuals have obtained this equipment and are using it for educational projects and for their own pleasure.\n\nWith this system of three-dimensional projection, color or black and white pictures are taken and projected in such a way as to create a three-dimensional effect.\nAn interesting, well-illustrated book on the Stereoly polaroid system of three-dimensional projection has recently been issued by E. Leitz, Inc., 730 Fifth ave., New York. Request booklet No. 1271 for a free copy.\n\nPatents \u2013 Trade Marks\nA registered patent attorney executes drawings, drafts specifications, writes patent claims differentiating from prior art, secures patents for machines, processes, manufactures, compositions of matter.\n\nSamuel Goldstein, (R.PA)\n275 East Gunhill Rd., New York City\n\nCamera Supply Company\nArt Reeves\n151 S North Cahuenga Boulevard, Hollywood\nCable Address \u2013 Cameras, California\nEfficient-Courteous Service, New and Used Equipment\nGordon Bennett \u2013 Manager, Bought \u2013 Sold \u2013 Rented\nEverything Photographic, Professional and Amateur\n\nFried Camera Co.\n6154 Santa Monica Blvd.\nHollywood, CA\nCable Address: FRIEDCAMCO\nDeveloping Machines: Printers, Light Testing Machines\nFried\nSound and Picture Printer\nModel DB\n\nSince contracts to the staff are generally offered around May 1, this is the time news of changes often comes. Department policy takes two courses: that of making the work of professional character or of making the cinema studies purely cultural. While faculty heads tend toward the academic and cultural side, students definitely favor practical, professional training, and point to architecture and pharmacy as precedent-making examples for this course. Meanwhile, it is understood Dr. Morkovin, head of Motion Picture Critic Supply, Inc., 723 SEVENTH AVE., NEW-YORK CITY, BRYANT 9-7754, is involved with cable CINECAMERA.\n\nApril, 1939 \u2022 American Cinematographer 187\nPhotography to Television (Continued from Page 172)\nTelevision is not the only field to which Adams has applied himself. At 821 North Elwood street, Glendale, behind screened windows, you might find any kind of apparatus. A towering antenna fastened to the roof makes the house stand out like a barkentine passing a fleet of fishing smacks on a calm sea. When retiring, Adams slips under a maze of wiring in order to find the bed.\n\nHis laboratory starts in the living room and ends up in the kitchen. In reaching for a cathode ray tube, he might easily get a bottle of milk. Sound and photography being more or less synonymous, a visitor would find several prints in the sink getting washed, for he is also an ardent camera fan and possesses a Super Sport Dolly (German make) with an f2.9 lens and shutter speed up to 1/250th. He is an expert in this field.\nIntensely interested in color photography and looking forward to a simplified method of color printing at home, doing away with present transparencies and all the equipment necessary to project them. On one of his many bookshelves, you'll find scientific books covering such subjects as mathematics, physics, the science of musical sounds, solenoids, alternating current, differential equations, operational circuit analysis, advanced calculus, electricity and magnetism, and analytical mechanics and dynamics.\n\nPreviously, he \"tinkered\" with radio in its early stages and recalls the first crystal set he built to pick up programs from the first station in operation in Los Angeles. Today, combining his amazing knowledge of radio, photography, and optics, Adams is plunging into fields heretofore unscratched.\n\nMixing science with art, he is an innovative figure.\nAccomplished musician earns part of living playing bassoon in Federal Symphony Orchestra of Los Angeles. Exchanging musical notes for dollars for equipment! So he may continue experimental work in amazing home-laboratory. If saying, \u201cyou get out of life what you put in\u201d holds any weight, Adam's future looks assured.\n\nPratt Succeeded by Smith\nWhen He Retires in April\n\nGeorge C. Pratt, vice president of ERPI, retires on April 1 after more than thirty-two years with Bell Telephone System, the last eight of which were as ERPI representative on West Coast. Prior to coming to Hollywood, Mr. Pratt was vice president and general counsel of Western Electric. He also was general counsel of ERPI from its organization to 1931 and had charge of legal work in connection with granting of licenses and supplies.\nPlaying of equipment to motion picture producers and theatres using Western Electric Sound. After his retirement, Mr. Pratt will engage in the practice of law in Los Angeles.\n\nMr. Pratt will be succeeded by Clifton W. Smith, who has been elected a vice president of ERPI. Mr. Smith joined the Bell System as the commercial manager of the Societe de Material Acoustique, Paris, in 1929 and subsequently occupied the positions of director of Western Electric Company, Ltd., London; European commercial manager of ERPI; assistant general foreign manager of ERPI; and general foreign manager of ERPI. Mr. Smith is a native of Michigan and took up his duties with ERPI on the West Coast in December last.\n\nThree new Kodak 35mm. films\nReady in 27.5-foot lengths\n\nThe three new Kodak films for miniature cameras \u2014 Kodak Panatomic-X, Kodak Plus-X, and Kodak Super-XX \u2014 are ready in 27.5-foot lengths.\nNow available in a form especially suited for darkroom loading of miniature camera magazines. This new form is a 27-foot length of frame-numbered 35mm film, safety base, with leaders cut out at intervals of thirty-six exposures. The strip is sufficient for five 36-exposure loadings, and the ready-cut leaders simplify measuring and cutting.\n\nSince all three films are fully panchromatic, loading must be done in darkness. Price of the 27-foot strip, in either Plus-X, Panatomic-X or Super-XX, is $2.50. All three films are also available in bulk rolls, without ready-cut leaders or frame numbering.\n\nMUST SACRIFICE\nDE BRIE SUPER PARVO\nJSein Type Ultra Silent Camera \u2014\nI\\o Blimp Required\nHas built-in motor, automatic dissolve, pilot pins and anti-buckling device. Four 1000-ft. magazines \u2014 40 mm., 50 mm., and 75 mm. F2.3 lenses, De Brie upright tinder.\nSet of front attachments. Leather-covered carrying trunk. It's the latest type equipment from Camera Equipment Co.\n1600 Broadway, New York City\nTel. Circle 6-5080 Cable: Cinequip.\nThe New Edition US*: Movies or Still\nProfessional or Amateur\n35mm., 16mm., 8mm. motion pictures, tables and charts for Cine cameras, film, filters, lenses, angles, miniature cameras, lights, calculators, color systems, exposure meters, timers, projection, developers, toners, etc., over 200 pages of essential material.\nThe Best Hand Book of Its Kind Ever Published\nPrice: $3.00\nSend for descriptive circular.\nJackson J. Rose, A.S.C.\n1165 North Berendo St., Hollywood, CA\nAmerican Cinematographer \u2022 April, 1939\nClardy Successfully Makes 8mm. Talker\nContinuing and tilting may be done with the camera \u2014 quite enough, Clardy has found, for most ordinary scenes.\nCloseups are made with a telephoto lens to minimize changing set-ups with the necessarily bulky equipment and also to minimize camera noise. Each scene is recorded on a separate band on one or more disks. The most convenient method is to use two disks, recording alternate scenes on each. When the picture has been processed and edited, these individual scene recordings are then rerecorded onto a single continuous record. The result is a single reel of film with an accompanying single disk of synchronized sound. The same methods are used in reproduction. A convenient shaft in the projector is extended beyond the case to connect with the same gear box. This is connected by a flexible shaft to the turntable of the record player.\n\nGeo. W. Colburn Laboratory\nSpecial Motion Picture Printing\n1197 Merchandise Mart, Chicago.\nIn World Wide Use:\nart A NrcjHf\nto DayF\u00bbm*~Fo^ Seovs-\nUsed Facus and many vhw\nGeorgio H. Schiavo\nORIGINATOR OF EFFECT FILTERS\n1927 WEST 78\u2122 ST, LOS ANGELES, CA\nHOLLYWOOD FILM\n0|P A Per 100 ft. roll. Add 10c per roll handling charge. Minimum 2 rolls at this low price.\n\"MW\" Price includes machine processing, spooling and mailing.\nSHOOT MORE OUTDOOR\nI FILM AT LESS COST\nHOLLYWOOD OUTDOOR is a high-grade, fine grain, semi-ortho film \u2014 for OUTDOOR USE ONLY. OK on cloudy days with f.3.5 lens. Fits all 100 ft. cameras, daylight loading, wound on 100 ft. daylight loading spools. GIVES CLEAR SHARP PICTURES. 1/3 cash with COD orders. California buyers include sales tax.\nHOLLYWOODLAND STUDIOS\n\"The West's Largest Film Mail Order House\"\nDept. 101 South Gate, Calif.\n\nSound and picture are again held in exact synchronism.\nAll that is necessary is to place the needle of the pick-up at a marked starting point, and bring a similar marked starting point into the projector's gate. Then, when projector and turntable are started together, sound and picture records move in the same synchronism with which they were made.\n\nSynchronism Good\n\nAnd let it be said that this synchronism has, in Clardy\u2019s initial production, been proved very good. In closeups and longshots alike, lip movements and spoken words synchronized as perfectly as might be expected in any professional sound film.\n\nThe sound quality was excellent, surprisingly so in view of the fact that the recording played was actually a re-recording of a rerecorded original master disk.\n\nIn addition to making home talkies, Clardy\u2019s equipment permits the apparent ultimate in home scored musical accompaniment.\nSince the picture and sound are made and reproduced in accurate synchronization, this permits the use of scores that are more closely synchronized to the action than with non-synchronous equipment. Since longer playing 33 rpm records are used, allowing one to compress the score for a full reel of picture on a single disk, standard 78 rpm records can be home rerecorded to create this record. Musical backgrounds may easily be rerecorded under dialog, or sound effects may be added to music and dialog in a professional manner. No one who has not actually made a sound picture can adequately describe the technique used. We hope to persuade Clardy to contribute to future issues with articles dealing with the details of his process. They are sure to be interesting reads.\nIng and Clardy employ principles that can be used with equal success on any type of equipment, both 8mm and 16mm, for opening up new fields to many sound-minded filmers. MGM and Erpi collaborate on portable sound recorder.\n\nA super-portable sound recording channel for location work, which weighs 84 percent less than current equipment but approximates the performance of the finest studio installations, has been designed by Electrical Research Products, Inc., in collaboration with MGM's sound department.\n\nExtreme portability characterizes every feature of the new design. In contrast to earlier \"location\" equipment, which was housed in nine separate cases and weighed 900 pounds complete, the two units of new apparatus weigh only 150 pounds.\n\nThe larger cabinet contains the recording machine and associated controls.\nThis unit includes those for the camera motors. It weighs 102 pounds. The smaller case, weighing 42 pounds, contains all mixer, amplifier, and noise reduction equipment.\n\nThe \"super-portable\" channel, developed primarily for location sound recording, achieves a degree of naturalness in recorded sound comparable to the most elaborate permanent channel installed for studio production.\n\nExtensive field tests have been conducted by Metro-Goldwyn-Mayer during the past year, and several recent productions of this studio have been completed with the new instrument.\n\nThe device will be on display at the Society of Motion Picture Engineers\u2019 Convention at the Hollywood Roosevelt Hotel April 17 to 21.\n\nMotion Picture Continuity\n\"On to Chattanooga\u201d\n\nAn interesting dramatic story pertaining to the U.S. Civil War may be revised to\nPertains to the Spanish Civil War. Contains elements of surprise, suspense, mental punch, physical punch, character contrast, emotional appeal, adapted to entertain children and adults. Dialogue synchronized with dramatic action.\n\nMotion picture producer or cinematographer, kindly communicate with Samuel Goldstein at 275 E. Gunhill Rd., New York City.\n\nGoerz Kino-Hypar Lenses (FapJtu/iSL VhcduhsA, Chvaluwim^ in alt ii&u ^hfiiouA, on Kodachrome, Dufaycolor and other color films.)\n\nThe high chromatic correction of these lenses will yield results which will be a revelation to you and your friends. Clear-cut images, undistorted, of microscopic definition and wonderful, crisp brilliance.\n\nFocal lengths 15 mm. to 100 mm. can be fitted in suitable focusing mounts to Amateur and Professional Movie Cameras.\n\nGoerz Reflex Focuser \u2014 Patented \u2014\nA boon to 16 mm. Movie Camera.\nusers \u2014 eliminates parallax between finder and lens \u2014 provides full-size ground-glass image magnified 10 times. Adaptable to lenses 3\" and up. Also useful as extension tube for shorter focus lenses for close-ups. Extensively used in shooting surgical operations, small animal life, etc.\n\nAddress: Dept. AC.4\nC.P. GOERZ AMERICAN OPTICAL CO.\nAmerican Lens Makers Since 1899\n\nSetting to Music 1938 Contest Winners\n(Continued from Page 173)\n\nThis medley coincides well with the pictured action of the first several sequences \u2014 even to a trumpet fanfare where one is called for, as the camera rests on a spectacular, towerlike rock pinnacle silhouetted against one of those ultra-deep Kodachrome skies!\n\nAt the shot of the fishermen's rowboats on the lake, following by several scenes the title and scene of the celebrated fishermen's bridge, the music:\n\n\"users eliminates parallax between finder and lens, providing a full-size ground-glass image magnified 10 times. Adaptable to lenses 3\" and up, it is also useful as an extension tube for shorter focus lenses for close-ups. Extensively used in shooting surgical operations, small animal life, etc.\n\nAddress: Dept. AC.4, C.P. GOERZ AMERICAN OPTICAL CO., American Lens Makers Since 1899\n\n(Continued from Page 173)\n\nThis medley coincides well with the pictured action of the first several sequences \u2014 even to a trumpet fanfare where one is called for, as the camera rests on a spectacular, towerlike rock pinnacle silhouetted against one of those ultra-deep Kodachrome skies!\n\nAt the shot of the fishermen's rowboats on the lake, following by several scenes the title and scene of the celebrated fishermen's bridge, the music:\"\nChanges to Sinding's \"Rustle of Spring.\" Several recordings of this are available. I chose the one by the British Broadcasting Company's Wireless Military, BC-269, which has since been pressed here and listed in the American Columbia catalogues.\n\nFollowing this, we again have recourse to the ever-useful music of Albert W. Ketelbey \u2013 this time \u201cQuips and Cranks and Wanton Wiles\u201d from his suite \u201cThree Fanciful Etchings,\u201d played by the composer and his orchestra on British Columbia 9407. The score for the first reel is concluded with Berlioz\u2019s \u201cCarnival Romaine Overture,\u201d Part I, played by Henri Verbrugghen and the Minneapolis Symphony Orchestra on Brunswick 50156. I believe this selection has since been pressed.\nThe second reel opens with Part I of Ponchielli\u2019s \u201cDance of the Hours\u201d from \u201cLa Gioconda,\u201d recorded by Rosario Bourdon and the Victor Symphony Orchestra on Victor 35833. Next, the same orchestra and conductor give us Tschaikowski\u2019s \u201cRomance,\u201d on Victor 35808, and we conclude with Percy Grainger\u2019s beautiful \u201cColonial Song,\u201d played by the same group on Victor 36035.\n\nThe home movie winner naturally calls for simple, generally lively music, since it deals with a child\u2019s Christmas. We open with Ketelbey\u2019s \u201cWedgewood Blue.\u201d\nColumbia (American) 50334-D: \"Columbia\" (composer and orchestra unspecified). \"Wedding of the Rose\": Dajos Bela's Artists Orchestra on Columbia. \"Santa's visit\": cue for \"Serenade\" from Drigo's \"Les Millions d'Arlequin\" (British Columbia 9092, British Broadcasting Company's Symphony Orchestra, Percy Pitt). \"Christmas Morn\": finish with reverse side of first disc - Ketelbey's \"The Clock and the Dresden Figures\" (Albert W. Ketelbey and orchestra on Columbia). Some scoring enthusiasts might complain about the simplicity of these scores, as they allegedly contain too few complexities.\nrecords  played  completely  through  (all \nrecords  listed  are  to  be  so  played,  except \nwhere  specific  cues  indicate  otherwise); \nand  that  more  frequent  music-changes \nwould  keep  the  accompaniment  in  closer \ntune  with  the  film. \nTo  that  I  can  only  reply  that  while \nall  that  may  be  true,  I  believe  that  per- \nformable  simplicity  is  equally  desirable. \nWorking  in  the  dark,  trying  to  change \nrecords  and  keep  track  of  discs,  picture \nand  cue-sheet,  too  many  accidents  may \nhappen  which  can  mar  the  pleasure  of \nthe  audience. \nTherefore,  wherever  one  record  can \nbe  made  to  do  its  fullest  share  of  work, \nrather  than  using  two  or  three  for  the \nFOR  SALE \nHIGH  SPEED  CAMERA \u2014 Latest  model  Debrie \nG.V. \u2014 Practically  New \u2014 Motor \u2014 Ground  glass \nfocusing \u2014 Adjustable  shutter \u2014  Magazines  \u2014 \u2022 \nTripod \u2014 Excellent  condition. \nNicholas  Cavaliere \n38  Mechanic  St.  New  Haven,  Connecticut \nFOR  SALE \nWALL rebuilt Bell & Howell Single system camera: quartz slit, 12 volts motor, 3 lenses, 2 \u2014 1000 ft. magazines, finder, sun shade, amplifier, W.E. dynamic microphone. Motion Picture Camera Supply, Inc. 723 Seventh Avenue, New York City. Cable Address: Cinecamera\n\nThe world's largest variety of Studio and Laboratory equipment with latest improvements as used in Hollywood at tremendous savings. New and Used. Mitchell, Bell-Howell, Akeley, De Brie, Eyemo, animation process cameras, lenses, color magazines, adapters, lighting equipment, silencing blimps, dollies, printers, splicers, moviolas, motors, light-testers, gear boxes, synchronizers. Guaranteed optically and mechanically perfect. Send for bargain catalog.\n\nHollywood Camera Exchange\n1600 Cahuenga Blvd. Hollywood, Calif.\nCable: Hocamex\n\nBell and Howell 170\u00b0 Cameras: high speed shuttles, high speed gear boxes, 400 and\n1000 foot Bell & Howell magazines - Bell & Howell tripods - motors. Mitchell silenced cameras. AKELJ3Y and DEBrie CAMERAS. Akeley motors. High speed motors. Sunshades, lenses, and finders.\n\nCamera Equipment Company\n1600 Broadway, New York City\nTel. Circle 6-5080 Cable : Cinequip\nWe buy, sell and rent professional and 16mm equipment, new and used.\nWe are distributors for all leading manufacturers. Ruby Camera Exchange, 729 Seventh Ave., New York City. Established since 1910.\n\nI've tried to use the same footage and make it do so. I've chosen twelve-inch discs instead of ten-inch ones wherever possible.\n\nExperience in arranging and performing these scores has convinced me of the wisdom of this. Each subsequent year, I've noticed that the scores for the prize films have somehow grown simpler, with fewer cues and music changes.\nAnd I don't think it is altogether chance or politeness that the simpler scores of this year have earned more compliments than some of the earlier ones. I used as many as a dozen records to score a single short reel of film once. This year, never more than five records are used for any one reel; the average is 3.7 records per reel. Except in the most unusual circumstances, keeping scores simple pays double dividends: they are easier to play and easier to listen to. After all, in spite of its very real importance, the musical accompaniment to any picture should remain just that \u2014 and keep itself a simple, non-intrusive background for visual entertainment.\n\nWanted:\nCamerman\nwith unusual 35mm. or 16mm. film for sale.\nWrite fully. 11166 Cashmere Av., West Los Angeles.\nNew Precision Test Reel For Projector.\n[Mitchell Standard Camera: Western Electric Interlock Motor, $75.00; full instructions, $29.50. 16mm. W.E. Mirrophonic recording, simplified and easily understood. Contains visual targets and constant level frequencies for soundtrack adjustments. Indicates travel ghost, sidesway, picture jump, etc. Developed by prominent SMPE member.\n\nCamera Equipment Company\n1600 Broadway, New York City\nTel. Circle 6-5080, Cable: Cinequip\n\nDebrie Model J, metal, 5 lenses, 6 magazines, tripod, extras, $300.00. Others from $125.00 up, also Leicas, Contax, Graphic, Graflex, and used bargains; time payments arranged.\n\nCamera Mart, Inc.\n70 WEST 45th STREET, NEW YORK\n\nWanted: We pay cash for everything photo-graphic. Write us today. Hollywood Camera Exchange. 1600 Cahuenga Blvd., Hollywood.]\nWanted to buy for cash: cameras and accessories. Mitchell, B & H, Eyemo, Debrie. Also laboratory and cutting room equipment. Camera Equipment Company, 1600 Broadway, New York City. Cable: Cinequip.\n\nWanted: 2nd hand Eyemo in low price, field. Aron Hower, 4035 Monroe St., Hollywood.\n\nClassified Advertising, 190 American Cinematographer.\n\nHere's news! Filmo 141, 16 mm. magazine-loading camera of traditional Bell & Howell perfection, may now be had for as little as $115! You can load Filmo 141 with gloves on! It uses the popular, modern 50-foot film magazines (obtainable everywhere) with built-in film footage dial. Change from black-and-white to color film even in mid-reel without fogging a single frame. Filmo 141 offers four film speeds, including slow-motion (64) or half (8) speed, as you prefer, and also the intermediate speeds so useful for fast action.\naction and control for scenes from automobiles, trains, and other fast-moving vehicles. Makes single-frame exposures as well, for animated cartoons, titles, maps, and miniature sets. A starting button lock lets the operator get into the picture. The exclusive \u201cpositive\u201d viewfinder eliminates eye parallax, causing poorly composed pictures, and is built into the camera \u2013 dustproof and damage-proof. Lenses (and matching viewfinder objective units) are instantly interchangeable with a full range of telephoto, wide-angle, and speed lenses. With its durable die-cast aluminum housing so beautifully finished that it is often mistaken for a molded plastic case, Filmo 141 is a camera as attractive as it is efficient. See it at your dealer's today.\n\nNo threading of film \u2013 just open the door, slide in the pre-threaded magazine of 16 mm. color or black-and-white film.\nSnap door shut and Filmo 141 is loaded, ready to take clear, sharp pictures true to color and life.\n\nNew low prices.\n\nFilmo 141 with Taylor-Hobson 1-inch F 2.7 lens . $115\n[With Taylor-Hobson 1-inch F 1.5 lens . $160.50]\nA fine 16 mm. silent projector.\n\nThe new \u201cFilmaster\u201d is the finest moderately priced 16 mm. projector ever offered by Bell & Howell. Buy it with absolute confidence, for the basic mechanism is the same as previous time-tested Filmos. Yet it includes deluxe features hitherto found only in the higher priced Filmos: gear drive throughout, even to the feed and take-up spindles; gear-driven power rewind; pilot light; Magnilite condenser for 32% illumination increase. Other features: 7 50-watt lamp; fast 2-inch F 1.6 lens, instantly interchangeable; lens focus lock; separate lamp.\nTwo-way tilt switch, reverse, still projection, clutch, 400-foot film capacity. Includes carrying case. $139. 32-volt model available. Prices reduced on Filmo Cameras, Projectors, and lenses. Filmosound Projectors for talking pictures at home as low as $276. Palm-size Filmo 8 mm Cameras cost as little as $49.50. Inspect Filmo equipment at dealer or write today. Bell & Howell Company, Chicago, New York, Hollywood, London. Since 1907, largest manufacturer of precision equipment for motion picture studios. Bell & Howell Company, 1848 Larchmont Ave., Chicago, Ill. Write for details on Filmo 141 Camera, Filmaster.\nProjector. Other equipment: .\nAddress: J I\n\nPhotographing Through Glass Eliminated The Silent Mitchell Studio Camera Requires No Blimp or Other Covering to Reduce Noise of Operation And Thus Eliminates Any Class Between The Lens And Objects To Be Photographed.\n\nThis Permits The Cameraman To Secure The Maximum Results From The Lenses.\n\nMITCHELL CAMERA CORPORATION\n665 North Robertson Boulevard\nWest Hollywood, CA\nCable Address \"MITCAMCO\"\nBell & Howell, Ltd.\nLondon, England\nCL Aud C. Carter\nSydney, Australia\nD. Nagase & Co. LTD.\nOsaka, Japan\n\nAgencies\nMotion Picture Camera Supply Co.\nNew York City\nFazalbhoy, LTD.\nBombay, India\nH. Nassibian\nCairo, Egypt\n\nMay 19--\n\nForeign 35c\n\nPublished in Hollywood by American Society of Cinematographers\nArnold Heads A.S.C.\nBlaisdell\nHollywood Designs New Meter\nStull\nSheeps' Blood in Color Work\nHoke\nEditing Travel Film\nSprungman.\nStereoscopic 8mm Color Films WOOD Fast Films and Color Make Light Changes KORNMANN Camera Marvels Uncovered from Air STITH Gerstenkorn Records Public Park Marples Film Tahiti Little's Fine Program Engineers Convene a-Lite Screen's Price Revision Jeannette MacDonald in MGM's Broadway Serenade all-around excellence More and more cinematographers are turning to Superior Pan not because of any single outstanding quality but because it offers an excellent combination of all photographic qualities On your next production, rely on Superior Pan. It lets you work with confidence ... gives a beautiful screen result Du Pont Film Manufacturing Corporation INCORPORATED 9 Rockefeller Plaza SMITH &. ALLER, LTD. New York ... N. Y. 6656 Santa Monica Blvd. Plant Parlin, N. J- Hollywood, California BETTER THIN QS for BETTER LIVING Q through CHEMISTRY\nThe Bell & Howell Eyemo is a versatile portable camera, superior in its field. With many important changes in the new models, it is even better than before. Eyemo is ready to handle any emergency in the studio or the field. It can be equipped with a tripod, 400-foot magazines, electric drive (synchronized with a sound recorder), and other studio camera accessories. Alternatively, it can be quickly stripped down to a light, compact, spring-driven hand camera.\n\nEyemo has focusing and diaphragm controls visible through the viewfinder, standard S.M.P.E. sound aperture, vibrationless governor, and other features.\n\nFor complete details, please mail coupon. Bell & Howell Company, 1848 Larchmont Ave., Chicago; 30 Rockefeller Plaza, New York; 716 N. LaBrea Ave., Hollywood; 13-14 Great Castle St., London. Est. 1907.\nNew Eyemo Model Q and At specifications:\nA Technical and Educational Publication on Motion Picture Photography\nPublished monthly by the American Society of Cinematographers, Inc.\n1782 North Orange Drive, Hollywood (Los Angeles), California\nTelephone Granite 2135\n\nJohn Arnold Heads A.S.C. Again\nBy George Blaisdell\n\nAgfa Ansco's History Reaching for a Century\n\nHollywood Engineer Designs New Type of Meter\nBy William Stull, A.S.C.\n\nTo Use Blood in Color Photography\nBy Ira B. Hoke\n\nCall for Ninth Session on Visual Education\n\nLet's Edit a Travel Film\nBy Ormal I. Sprungman\n\nMaking Stereoscopic 8mm. Pictures in Color\nBy Jack V. Wood, S.A.C.\n\nFast Films and Color Have Made Big Light Changes\nBy Gene Kornmann\n\nPractical Gadgets Expedite Camera Work\nBy Gregg Toland, A.S.C.\n\nDr. Gerstenkorn Makes Record of Public Park\nTwo Kodachrome films mounted for free by Kodak\nShooting from air uncovers camera marvels. by Richard B. Stith\n\nMr. and Mrs. Marples film South Seas.\nTrace documentaries back to 1932.\nWitherspoon new head of Spencer Lens Company.\nKodak puts up building and puts down prices.\nLittles Tenth Party a great success.\nEngineers\u2019 Hollywood convention hits high mark.\nThe Amateur Alpinists \u2014 a script.\n\nDa-Lite screen makes second price revision.\n\nFront Cover\nOne of the final sequences in the making of \u201cBroadway Serenade\u201d by M-G-M. Jeannette MacDonald, the star, is shown at the top of the tower immediately opposite the camera mounted on the boom. Oliver T. Marsh directed the photography on this Robert Z. Leonard production. The still was the work of Virgil Apgar.\n\nEditor\nGeorge Blaisdell\nWashington\nStaff Correspondent.\nReed N. Haythorne, A.S.C. (Technical Editor)\nEmery Huse, A.S.C. (Advisory Editorial Board)\nVictor Milner, A.S.C. (Advisory Editorial Board)\nJames Van Trees, A.S.C. (Advisory Editorial Board)\nFred W. Jackman, 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\nCirculation Manager: L.F. Graham\nNew York Representative: S.R. Cowan, 19 East 47th St., New York. Phone: Plaza 3-0483.\nForeign Representative: Georges Benoit, 100 Allee Franklin, Pavillions-sous-Bois, Seine, France. Telephone: LeRaincy 13-19.\nAustralian Representative: McGill\u2019s, 179 Elizabeth Street, Melbourne, Australia.\n\nNeither the American Cinematographer nor the American Society of Cinematographers is responsible for statements made by authors.\n\nEstablished 1920. Advertising Rates on application. Subscription: United States, $2.50 a year; Canada and the Pan-American Union, $2.50 a year.\nForeign: $3.50 a year. Single copies: 26 cents; back numbers: 30 cents; foreign, single copies: 35 cents; back numbers: 40 cents.\nCOPYRIGHT 1939 by American Society of Cinematographers, Inc.\nEntered as second class matter November 18, 1937, at the post office at Los Angeles, California, under the Act of March 3, 1879.\n196 American Cinematographer \u2022 May, 1939\nMake Your Days Longer\nThere is only one way to increase the length of your working day on location ... start earlier, stop later, shoot pictures under heretofore impossible conditions \u2014 use faster film.\nThe name of the film that is faster ... that will lengthen your shooting day is AGFA SUPREME. Recent winner of an Academy Award, SUPREME is a high-speed film that is outstanding in grain size, color balance, and gradation.\nFor work where speed is the factor of first importance, use AGFA ULTRA-SPEED.\nPAN: The fastest 35mm film manufactured. Specify these two great Agfa films from now on. Made by Agfa Ansco Corporation, Binghamton, New York.\n\nAgfa Raw Film Corporation, Hollywood\n6424 Santa Monica Blvd.\nTel: Hollywood 2918\n245 West 55th Street\nTel: Circle 7-4635\n\nMay, 1939 \u2022 American Cinematographer 197\n\nArnold Again Head of A.S.C.\nBy George Blaisdell\n\nJohn Arnold is once again president of the American Society of Cinematographers. He was elected on April 11, succeeding Victor Milner, retiring after two years in the chair. It was just two years ago that Arnold retired after seven years in the presidency, believing he had done his part.\n\nHowever, the members of the board of directors had other plans when faced with the task of filling the chair. They wanted Arnold, and when they had concluded their statement of reasons.\nArnold was it. Ray June, who had just been re-elected to the board by an unusual and remarkable vote, was chosen as first vice president. Ted Tetzlaff and Joseph Valentine were respectively second and third vice presidents. The office of treasurer was combined with that of secretary, Frank B. Good, who for several years had filled the latter office, being chosen for the combined posts. Frederick L. Kley was re-elected executive vice president of the society. The board of governors, as it will be constituted for the coming year, is as follows: John Arnold, John W. Boyle, Charles G. Clarke, Robert De Grasse, Arthur Edeson, George Folsey, Alfred Gilks, Frank B. Good, Ray June, Charles B. Lang, Jr., Hal Mohr, Charles Rosher, Ted Tetzlaff, Joseph Valentine, Joseph Walker. The new members of the board are Messrs. Clarke, De Grasse, and Valentine.\nJohn Arnold is more than a veteran cinematographer. He was one of the first to induce his fellow-craftsmen to get together and work together for the mutual advancement of the quality of their product and for the recognition of their craft \u2013 not only in the studios but in the world at large.\n\nHe was one of the five men who, in the early days of motion pictures \u2013 in the days when these were known only as moving pictures \u2013 formed the Cinema Camera Club. Later, a branch of the same body was organized in Los Angeles. This was succeeded later by the Static Club. In 1918, the A.S.C. was formed.\n\nThis action was quickly followed in January, 1919, by the formal incorporation of the association. That means John Arnold again heads the A.S.C.\n\nRay June, first vice president A.S.C.\nAmerican Cinematographer \u2022 May, 1939\nthe society is now well on its way to\nArnold was a young man when he started in 1906, in Thomas A. Edison's studio in the Oranges, New Jersey. The inventor, later recognized as one of the first in motion picture development, had numerous interests. Motion pictures were just one of many.\n\nArnold was initially placed in work other than screen work at the Edison plant. In school and university, he had specialized in scientific engineering, and there were numerous spots outside of the picture division where work was uncovered for him.\n\nOne of the Pioneers\nArnold had not been long employed when he gradually found himself a part of the new and rapidly developing industry known as moving pictures. In the Edison studio, he became one of the pioneers in the making.\nIn 1908, there were pictures of Harry Lauder singing and dancing before the camera, revealed by a reporter's remark about seeing a good sound picture of him. The new president replied, \"Yes, I shot it, as well as others of Eva Tanguay and quite a few more.\" At that time, records were made first and then played back on the same system as used today on some special occasions. However, the plan was not followed up due to the inability to maintain synchronization in theaters. Projection was new and anyone could operate it. Decision to cease production.\nThe sudden change saw two completed sound pictures never released. How Operators Were Transformed\n\nJust to digress for a moment, it was not long after that period that Frank Richardson, who headed a projection department in Moving Picture World, initiated a militant campaign to instill in operators that they were projectionists.\n\n\"Projectionists is your term, I'll tell you, fellows,\" he insisted. \"It has a sophisticated sound. Adopt it and stick to it, and you'll find it will double your salaries if you study hard and learn a lot more than just turning a crank.\"\n\nOperators became projectionists, they studied hard; Richardson among others wrote books on projection, which the projectionists profited from. For quite a number of years, Richardson has been known in the Society of Motion Pictures.\nPicture engineers and those in the industry as a projection engineer. And when sound came in ten years ago, the projectionists were all set to project it -- and to project it in a manner that rated practically 100 percent. Arnold, who for many years has been head of the camera department at MGM, has been continually in the employ of the several companies that in 1924 gradually merged into the present organization. Twenty-five years in one institution -- especially one which several times has changed its title and its personnel generally -- is something of a record. And by the same token, eight years as chief of the A.S.C. also is another record.\n\nAGFA ANSCO'S HISTORY\nREACHING FOR CENTURY\n\nIn a handsomely printed booklet of twenty-eight pages and cover, Agfa Ansco Corporation tells \u201cThe Story of Agfa Ansco.\u201d It is a long story.\nThe hundredth year of photography is being celebrated this present year, marking three years short of a century. The centennial of Agfa Ansco will be commemorated shortly. After the invention of photography by Jacques Daguerre, Professor S.F.B. Morse visited him in Paris. Upon his return to America, Morse bestowed upon Edward Anthony his limited knowledge of the new work.\n\nAnthony, having recently graduated from Columbia University with a specialization in mathematics and engineering, quickly became proficient in the new process. His photographs of highlands along the Canadian border enabled the American Government to establish its boundary claim. These were the first photographs ever taken.\nIn Washington, the committee on military affairs allowed Anthony to use its committee rooms for his sittings. His venture in the capital city was successful. He decided to enter business as a dealer in daguerreotype materials. In 1842, he established a photographic supply house under the name of Edward Anthony at 308 Broadway, New York. In 1852, the firm was enlarged by the admission of the older brother, Henry. In the same year, the firm conducted the first photographic prize contest, generating much interest. In 1862, Henry took an active interest in the business. Gradually, the brothers became manufacturers as well as dealers. Henry Anthony is credited with being the first to take an instant photograph \u2013 the father of the snapshot.\n\nDuring the Civil War period, the collodion process was in use.\nThe wet collodion process came into use, allowing plates to be coated with light-sensitive material immediately before use. This permitted shorter exposures and the making of extra prints. During the Civil War, Matthew B. Brady, famous photographer of the period, used Anthony materials for this process. The next development was the gelatin dry plate.\n\nWith that came the dropping of the cumbersome accompanying material taken along by the photographer. In 1880, the Anthonys put on sale their first gelatin dry plates and four years later their first hand cameras.\n\nIn 1887, the Reverend Hannibal Goodwin invented roll film. Frequently, he was in these days in consultation with the Anthonys, who later marketed his creation. The invention was followed by the devising of cameras that would permit use of the film.\n\nFollowing the deaths of the brothers.\nIn the 1800s, while the company was being guided by Richard, son of Edward, the combination of Anthony and Scovill was made. The Scovill Manufacturing Company had been creating metal products since 1802. It began to make daguerreotype plates in 1842 in its photographic department.\n\nIn 1902, the company became Anthony and Scovill. At this time, its manufacturing facilities were changed from New York to Binghamton. Five years later, the name was changed to Ansco. The \u201cAn\u201d represented Anthony, and the \u201csco\u201d the first syllable of Scovill. The present name of Agfa Ansco Corporation was adopted in 1928 when the American interests of the Agfa Film organization were merged with Ansco.\n\nThere are other chapters heavily illustrated in the book entitled \u201cTwo Motion Picture Academy Awards,\u201d \u201cHow Agfa Film Is Made,\u201d \u201cAgfa Papers Outstanding.\u201d\nFrom \"From a Sheet of Steel to a Camera,\" \"Other Binghamton Facilities,\" and \"What Stands Behind the Agfa Trademark,\" in American Cinematographer, large lighting orders have been placed by Paramount and R K O-Radio Pictures for lighting equipment, totaling over $60,000, one of the largest in Hollywood in some time. The volume amounted to over 500 units in each case and came from the shops of Bardwell and McAlister. All of the equipment is designed to be adaptable for fast black and white and Technicolor film.\n\nHollywood Engineer\nDesigns New Type Meter\nBy Wm. Stull, A.S.C.\n\nDuring recent months, several outstanding figures in the cinematographic world have expressed the hope that it might be possible to develop a photoelectric light meter capable of giving selective readings of both brightness and contrast.\nA desired part of a scene, and such a meter might be built into the camera. It is therefore interesting to learn that a meter closely conforming to these ideas has been designed by a Hollywood engineer. The designer is Charles S. Franklin, creator of several photoelectric instruments already in use in Hollywood laboratories and studios. He has named the device the \u201cMultiscope Light Meter\u201d and points out that it will make it possible to obtain both overall and selective readings quickly and easily from the camera position, and if necessary even through the same lens used in photographing the scene. The device will give a direct measurement of lighting contrast and can be coordinated to match the speed and color sensitivity of any type of material, including even infra-red sensitive film. This meter gathers the light to be measured.\nMeasured through a lens, preferably one covering the same angular field as that covered by the camera lens. This lens forms an image upon a ground glass screen in the usual manner.\n\nMulti-5C0pe Light Meter\ntop view\nCathoc-Pat Tube and Associated Equipment\nOvlP-CXPsupes\n. unotp-t upcsupf\n\nSide View\nI'll V\nBb an H\nScanain6 Olsc\nCr.C i\n\nDate October 15, 19--\n\nDirectly in front of the ground glass is placed a thin opaque matte, perforated with a large number of very small holes, arranged in a predetermined pattern.\n\nLike a Series of Shutters\n\nBehind the ground glass is a scanning disk, revolved by a small, synchronous motor. The holes in the scanning disk are so arranged that when the disk is rotated, each hole in the matte is individually scanned; in other words, the scanning disk acts like a series of shutters for the innumerable tiny perforations.\nForations in the matrix, ensuring only one hole passes light at a time, while all are revealed and obscured in quick and regular succession. Behind the scanning disk, a condensing lens concentrates the light received through the system onto a photoelectric cell. If necessary, a filter may be placed in front of this cell to coordinate its color sensitivity with that of the film being used.\n\nPhotoelectric cells, which have sensitivity extending well into the infra-red, can meter this \"invisible light\" with such an instrument. The current generated by the light in the photoelectric cell is amplified and passed on to a cathode-ray oscillograph, which serves as the indicating dial of the meter.\n\nThough this instrument is well-known in sound recording, radio, and television, it is relatively unfamiliar to the uninitiated.\nThe photographic world: A description is advisable.\n\nCathode-Ray Tube:\nThe heart of this oscillograph is a cathode-ray tube, which, in simplest terms, is an electron gun that shoots a stream of electrons along its length. At the opposite end, the tube widens to form a screen, coated with salts that glow when bombarded by the electron beam. When properly focused, the stream is visible on the screen as a small, luminous spot.\n\nThe electron stream passes between two sets of plates, one pair mounted horizontally, the other vertically. When current is applied to one pair of these plates, appropriately polarized, negative and positive, the electron beam can be deflected up or down, or from right to left, or any combination of them.\n\nThe electron stream reacts instantly.\nThe device can instantly adapt to any changes in the currents applied to the plates, enabling it to form intricate patterns such as television images, sound wave patterns, etc. In the operation of the Franklin multiscope light meter, the image is divided into a large number of tiny light spots by the perforated matte in front of the ground glass. The synchronous motor turns the scanning disk past the matte openings in such a way that each hole is uncovered or scanned in turn, the resulting light spot being picked up by the condensing lens and focused on the photocell. The output of the photocell is amplified and applied to the vertical plates of the cathode-ray tube - that is, the plates that cause the electron beam to move up and down. The fine horizontal and vertical rules can be adjusted.\nTo determine the brightness at a position visible in the finder, which is the intersection of vertical line E and horizontal line 5, all that is necessary is to locate the calibration beneath the indicator-dial representing Section E and measure the height of Line 5 in that section. The higher the line, the brighter the intensity of light being received from the particular spot being read.\n\nThe cathode-ray screen used for this may be of almost any convenient size.\nThe instrument can be magnified further by a simple viewing lens, allowing readings for multiple image points to be made easily, with all points represented on the screen without overcrowding or complication. The instrument can be calibrated so that a specific gain setting of the amplifier represents a given emulsion speed. The limits of over and under exposure can be definitively fixed as two heavy horizontal lines on the scale. With such limits clearly marked, it would be easy to tell at a glance whether any portion of the scene area was within acceptable exposure levels.\n\nPicture Finder:\nJ 40CO\u00ab*\u00abmiJk\u00a3.\nActions Interlocked\n\nThe horizontal plates, which move the beam from left to right, are energized by a timing circuit fed by the same power source that drives the synchronous motor impelling the scanning disk.\nThe action of the scanning disk and the horizontal movement of the electron beam are interlocked. The horizontal position of the cathode-ray beam depends on the location of the particular matte opening being scanned at any time, while the vertical deflection of the beam depends on the brightness of that spot. The resulting pattern consists of a number of vertical lines, each representing one of the minute picture areas being measured. The length of each line is a measure of the light value received from that particular point in the picture. A very bright spot would be represented by a tall line, and a dark shadow by a short line. For practical use, a finder of the usual type can be fitted to the instrument. Upon the ground glass of this finder is the Cathode-Ray Screen. DATE: OCTOBER 31, 1937.\nMay 1939 \u2022 American Cinematographer 201\nStarch grain screen\nBlood corpuscle screen\n\nTo use blood in Color Photo\nBy IRA B. Hoke\n\nNatural color photographs made from blood! Startling, macabre \u2014 yet scientific \u2014 is the impression given as for the first time, the Color Development Company announces its revolutionary adaptation of the additive color process through the use of sheep's blood corpuscles as a dye carrier in the production of natural color moving picture negative and positive, as well as other types of photographs.\n\nHeaded by Chalmers C. Smith and Ray H. Pinker, inventors, Color Development Company, under the business management of Howard C. Brown, has opened offices and laboratory at 6418 Santa Monica Boulevard, Hollywood.\n\nTo a world of photography, now fully color conscious and on the qui vive for new developments, this process.\nThe most fascinating development in the long history of additive color photographs is promised by the process discussed below. The earliest progenitor of this process was the starch grain mosaic, introduced in France thirty-two years ago. While this well-known process produces a color plate of astonishing fidelity, its adaptation to motion pictures was deemed unsatisfactory due to the relatively large size of the starch grains when magnified to the required screen proportions of the average theater.\n\nMoreover, starch grains vary greatly in size. The larger grains are often three times the diameter of the smaller. This difference, under some conditions in the moving picture type of photograph, would tend to produce untrue color values. For instance, an extremely large grain of one color adjacent to an unusually small example of another color could result in inaccurate color representation.\n\nStarch grain mosaics, furthermore, have other limitations.\nInventors Chalmers C. Smith and Ray H. Pinker, recognizing the limitations of the starch grain mosaic for low light transmission in moving picture films, yet understanding the economic benefits of an additive type color film, pooled their expertise. After several years of experimentation, they developed the blood corpuscle carrier as an optimal solution for a fine grain dye base, securing a basic US patent, No. 2,115,886, for the process.\n\nThe inventors assert that the film mosaic comprised of blood corpuscles surmounts all previous challenges encountered with the irregular type of screen. Their experiments demonstrate the capability to manufacture a screen of high transparency.\nIn order to readily understand this last mentioned and most important advantage, let us first examine one of the millions of blood corpuscles present in a single drop of that fluid through a microscope. It appears as a circular biconcave disk with rounded edges, about one six-thousandth of an inch in diameter and about a quarter of that in thickness. Its color is little more than a pale yellowish tinge, almost transparent. The deep red color which it gives the blood is observable only when the corpuscles are seen en masse.\n\nNot only will the screen formed of these minute disks afford a mosaic of high transparency, but, owing to the extremely small size of the blood corpuscles, the mosaic will be of a minimum thickness. The elements, because of their flat disk shape, have a minimal overlapping effect.\nThe tendency for most particles to adhere to the surface of film in a single layer is evident when examined through a microscope. Various animal blood corpuscles, such as those from sheep, dogs, horses, rabbits, etc., are visible. Although there is a slight variation in size between corpuscles from different animals, ranging from one three-thousandth to one six-thousandth of an inch, they generally have similar dimensions. In contrast, the bulky starch grain masses appear astonishingly uniform and minute.\n\nSome comparison with the starch grain screen can be made from Mr. Pinker's estimation that 3 million starch grains occupy a square inch of that type of screen, while approximately 27 million blood corpuscles will cover a similar area. The small size is crucial in the mosaic of motion pictures, and it is desirable that all dye carriers are similarly sized.\nElements for dyeing should be uniform in size and shape, with each one substantially identical to every other except for color. This ensures even distribution of dye-carrying particles. This ideal seems to be achieved in the blood corpuscle mosaic.\n\nIn the manufacture of color film using this process, corpuscles are accumulated by centrifuging and decolorized if necessary. They are then immersed in an isotonic salt solution and dyed in three separate groups. One part is dyed red, another green, and a third blue-violet.\n\nCorpuscles are mixed in varying proportions according to the type of light required for photograph taking.\nThe proportions are three red elements, four green elements, and two blue-violet elements. The corpuscle mixture is then deposited on the film stock by spraying. Figure 1 \u2014 Diagrammatic perspective view of blood corpuscles mosaic as applied to film stock. Figure 2 \u2014 Diagram showing the relationship of the various layers.\n\nAfter drying, a thin layer of formaldehyde and albumen is overlaid as a protective, sealing, and preserving coat. Over this, the panchromatic emulsion is laid, and the film is exposed in the camera with the celluloid side toward the lens, thus causing the light to pass through the colored corpuscles, as through millions of tiny filters, before reaching the sensitive emulsion.\n\nOwing to the extremely transparent quality of the dyed corpuscles, the negative film, according to Mr. Pinker, requires only an exposure double that of\n\n(No need to clean this text as it is already perfectly readable and free of meaningless or unreadable content, and there are no introductions, notes, logistics information, publication information, or other modern editor additions. No OCR errors were detected.)\nThe emulsion alone. The exposed film is then developed.\n\nThe ninth session of the National Conference on Visual Education and Film Exhibition (De Vry Foundation) will be held in Chicago from June 19 to 22. The gatherings will be at the Francis W. Parker School, 330 Webster avenue, opposite Lincoln Park, and will be under the direction of A. P. Hollis.\n\nAmong those who will appear are Dr. James E. Bliss of Western Reserve University, who has done some remarkable work in color not only in dentistry but in Athletics and other school subjects; Professor L. W. Cochran of Iowa University, who will exhibit and explain Professor Barnes\u2019 motion studies which have excited intense interest; A. P. Heflin of the Lane Technical High School, Chicago, who will exhibit some of the school\u2019s own films and describe.\nDr. I.E. Deer of the MPPDA, known for his work on character building films \"Secret of Success,\" discusses color negative production and use. In ordinary negative solutions, a color negative is produced, which is negative in emulsion but complementary in color range to the original. Prints can be made directly from the negative using an optical printer on sensitized stock. The negative film created with the blood corpuscle mosaic has a light transmission value of approximately 34% and the positive transmission of approximately 40%. These transmission values are similar to those of ordinary black and white films. Consequently, in the projection of these color prints, the light transmission is:\n\nDr. I.E. Deer of the MPPDA discusses color negative production and use. In ordinary negative solutions, a color negative is produced, which is negative in emulsion but complementary in color range to the original. Prints can be made directly from the negative using an optical printer on sensitized stock. The negative film created with the blood corpuscle mosaic has a light transmission value of approximately 34% and the positive transmission of approximately 40%. These transmission values are similar to those of ordinary black and white films. Therefore, in the projection of these color prints, the light transmission is:\nTitle: Excess light is unnecessary.\n\nThe Color Development Company is currently conducting research on the spectral quality of blood corpuscle dyes. After these tests are completed, the new blood corpuscle mosaic will be ready for the raw stock manufacturer.\n\nSESSION\n\nEDUCATION\n\nMrs. Richard M. McClure, president of the Better Films Council of Chicagoland, whose inspirational addresses have shown a new way to culture through motion pictures, will speak.\n\nWilliam G. Hart, director of visual education in the Harvey H. Lowrey School of the Fordson Board of Education, Dearborn, Mich., will exhibit and describe some original film production in public school relations.\n\nMrs. Charles Joe Moore, Director of Visual Instruction Bureau, University of Texas, Austin, Texas, will discuss the outstanding work of her department in Texas schools.\n\nMiss Kathryn Troy will be welcomed.\nFor her unique films on marionettes, William L. Zeller, cinematographer of wild birds in color, will present new marvels of his skill, patience, and imagination. E.W. Cooley, cinematographer, Wauwatosa, Wis., will show his Indian pictures, also in color. Walter L. Grabski, Cleveland, will put on travel films in color. DeForest Training, Inc. will demonstrate apparatus used in teaching Television.\n\nAmerican Cinematographer 203\n\nThe outstanding superiority of EASTMAN PLUS X NEGATIVE is something to talk about\u2014 and SOMETHING TO SEE!\n\nJ.E. Brulatour, Inc. - DISTRIBUTORS -\n\nAmerican Cinematographer \u2022 May, 1952\n\nEdit Travel Film\nBy Ormal I. Sprungman\n\n16mm frame enlargements by Sprungman from Dan Billman Jr.\u2019s color movie, \u201cBlack Cousins.\u201d Titles filmed by Park Cine Laboratory.\n\nEnlarged from 16mm color movie frame.\nDan Billman Jr. of Minneapolis, whose recent travelog \"Black Cousins\" is described in this article, is shown filming from the deck of a West Indies-bound steamer. A member of the Minneapolis Cine Club, Billman increases the effectiveness of his screenings by adding music and sound effects.\n\nSeventeen rolls of freshly exposed Kodachrome lie before me on my editing table, representing the latest shooting efforts of Dan Billman Jr. of Minneapolis, recently back from a month's jaunt to the West Indies by water and air. My job is to boil down the footage to three 400-foot reels, whip up continuity, create readable titles, and put everything back together so that all scenes will be right side up.\n\nI enjoy this polite form of butchery. Nothing gives me greater pleasure than to rip cold-bloodedly from my own films those sequences which are unworthy.\nA bit off in exposure or focus, I have learned, after more than a decade of filming, that poor quality has no place, not even in amateur-made movies. Dan is typical of many moviemakers. He likes to film his travels. His cinematic hobby provides a pleasant escape from his more or less morbid work as a mortician. Unlike most button pushers, Dan shoots his footage from one of those cumbersome, finger-pinching contraptions known as a tripod, and he has the knack of spotting nice picture possibilities and framing his scenics. He uses a meter.\n\nA winter ago, after having exposed an experimental roll or two of Kodachrome, Dan and his bride hied off to the Pacific's paradise, returning later with \"Hawaiian Honeymoon,\" a 1200-foot color feature, synchronized with sound and music that well-nigh amazed the countless audiences which viewed it. Dan sees Hawaii as ideal.\nSpurred on by good shooting, the movie pair recently rode down to Miami, sailed off to Haiti, spent a week at Kingston, and then flew back to the home soil via Havana. Dan, who sits here watching me cripple and maim his latest celluloid offspring, assures me that he is disgusted with the results and disappointed with himself. He believes that the Indies do not offer as many picture possibilities as Hawaii. He claims that he tramped the native streets daily with camera and shouldered tripod, invaded market places in search of colorful sidelights, spent a goodly sum on tips for lens-staring black-skinned subjects, and was finally forced to hire native policemen with whips as bodyguards to protect himself and camera. He says that he searched the islands for a native burial, finally contenting himself with a shot of a moving hearse.\nHe spent days big game fishing and came off with only one little perch. Everything sounds hopeless. But I know better. We have just finished running all 17 reels through twice, and I can see good possibilities after the dead timber has been cleared away. The first time through was merely to study the general layout. On second projection, a written record was made of each scene, one page being devoted to each numbered reel.\n\nReady to mutilate. With reels, scene record sheets, cement pot and scissors before us, we\u2019re ready to mutilate. We glance at the scene outline for Reel 1. It reads verbatim:\n\nMS Dan and wife leaving home\nCU pair - heads only\nLS front view of \u201cHiawatha\u201d in railway station\nMS angle shot of train funnel\nCUT birds\nLS telephoto shot of flying fish\nCUT 1st CU steamer whistle blowing\nLS bow of SS North Star showing name.\n2nd whistle blown\nCut to Long Shot (LS) of two people on deck, pointing over rail\nMedium Shot (MS) of Dan with movie camera on tripod, shooting\nMS of Wife clowning at wheel\nMS of Ship captain and others\nCU of skipper at wheel\nLS of passengers seated on deck\nCut to dark steamer whistle (for later use)\nCut to light sunset from deck\nRemaining sunsets\nLS means long shot, MS medium shot, CU close-up, and CU throw out.\nIt looks like mutiny, but something must be done about that introduction.\nThe train shots are too short, and the departure from home too abrupt. But let's bother about that later.\nSnipping and pasting, we go through the first reel, permanently discarding the badly exposed CUT stuff, and slipping on to a separate personal reel other scenes too good to throw away, yet not relating to the current theme.\n\nThe next reel shows market scenes.\nin Haiti, native women smoking at a public cemetery, babies crying, a sunset from the ship, immigration officials coming aboard at Kingston, Myrtle Bank Hotel, and orchids in close-up. This hodgepodge is followed by more flowers, more babies, more market scenes, long shots of Jamaica\u2019s high country and close-ups of native dances.\n\nOur three 400-foot reels might develop like this:\n\nMay, 1939 \u2022 American Cinematographer 205\n\nThese two pages of striking 16mm. color frame enlargements are from Dan Billman Junior\u2019s West Indies film, \u201cBlack Cousins,\u201d described in the accompanying article. All frames were enlarged by O. I. Sprungman, writer of the story.\n\nPhotography by Dan Billman, Jr.\nEditing, Titling by\n\nI'm not crazy about snow; I toied sooner with mush south Where the hurricanes blow, 206 American Cinematographer \u2022 May, 1939.\nMay 1939 \u2022 American Cinematographer 20' (Continued from Page 205)\n\nReel 1: Departure from Minneapolis, steamer scenes, arrival in Haiti and Jamaica, flower and river shots, native dance on beach.\nReel 2: Kingston traffic views, Coronation Market, mountain scenery, sailboating, fishing, coastal scenery, turtle-bird-dog close-ups, more dances, sunset.\nReel 3: Departure from Kingston by plane, arrival in and departure from Cuba, arriving in Miami, sailboat races, Finis.\n\nSuch an arrangement is never final. In fact, scenes are often juggled and rejuggled until the best combination is created. In editing features running two or more reels, it is always advisable to work in the most striking scenes toward the close of each reel.\n\nPsychologically, this leaves a desirable impression upon the audience during reel changing. Since color sunsets are most effective, it is best to end each reel with them.\nAmateur reels often end with awe-inspiring spectacles, but this tendency should be avoided due to lazy editing. Allowing for titles, since all three reels are well-loaded, requires around 100 feet. This calls for more scene cutting and juggling. For instance, remove lengthy Haiti market scenes from Reel 1 and combine the best shots with Jamaica market scenes on Reel 2. Transfer mountain scenery and turtle-bird-dog closeups to Reel 1, and slip sailboating, fishing, and coastal scenery stuff into Reel 3. However, deciding how to end the first reel is a challenge. Consider using the native dance on the beach, synchronized with weird music and the ending shot.\nThe abrupt transition from tom-toms to \"End of Part One\" title requires bridging the gap, violating our first rule. We call for a sunset. Although the sunset views are not solely for their beauty but to aid synchronization, we have occasional quick shots of hands drumming and close-ups of the dancers. Drumbeating concludes the sequence, and as the palm-fringed sunset scenes appear, the sound of tom-toms gradually diminishes and fades out with the closing title.\n\nReel 2 progresses more slowly, showcasing street scenes, native troops parading, and market activity, animated by a delightful sequence of a barefoot native youth tapdancing on pebbly pavement with pop bottle caps between his toes.\nThis is followed by a colorful Market Dance and a native skit which called for film censoring in spots.\n\nLone Fish Makes Fun (Reel 3) opens with beautiful coastal scenery around Port Maria and striking bathing beach scenes. Next is an angle shot of the top of a sail silhouetted against the sky, then a drop to water level for the sailboating sequence.\n\nThe transition from land to water is complete without titles. The gap between the sailing and fishing boat scenes is handled by cutting in a short closeup of the latter\u2019s pilot wheel, continuing with over-the-bow shots of a rolling sea.\n\nThe preliminary fishing scenes were well filmed, and despite the fact that no whoppers were caught, the closeup of the lone fish at the end of the sequence usually pulls a grin from each audience.\n\nPrior to making the flight from Kingston to Miami, Cameraman Billman\nThe airport was haunted, securing necessary signs and building close-ups, as well as the actual landing and takeoff on water of an identical plane. Instead of shooting baldly across open water, he set up his tripod some distance back from shore. A few blushing poinsettias bobbed around in the foreground while the plane whisked over the wavy blue water for a perfect landing. Then came refueling, baggage handling, and taking on new passengers, and finally the takeoff filmed against a cloud-broken sky.\n\nOn the day of the Billmans' departure, it was only necessary to show the couple boarding the plane. The balance of the shots could then be taken through the window inside the cab, with spray streaking down over the glass to add an unusual effect. Ocean scenics framed down through lazily drifting clouds or high above the billowy floor provided unique beauty.\nUpon landing at Cienfuegos, Cuba, he caught the shadow of his plane on the ground and kept his camera purring steadily as the menacing shadow grew larger. There are a few shots of Havana, then another takeoff, more sea-aerial stuff, and finally the landing at Miami with a rowboat riding out to rope the great bird shoreward. The film closes with views of a sailboat race outside of Miami.\n\nNeither of us cared for the ending. The race seemed out of place. The racing shots were jerky, one or two of them fitting nicely in the Kingston sailing scenes at the start of the reel. But this gave rise to another problem. You can't bring a plane down on water, flash \"The End,\" and tell folks to go home. The finale needed further smoothing, which was provided simply by adding another windup title.\nWhen the plane taxis up and the small boat comes out, we faded in slowly on a title: We're sorry, folks, but this is where you came in \u2014 and then dissolved into The End title.\n\nCompromising on a Title\nSelecting a main title called for some head-scratching. Dan wanted something with the word black in it. He suggested Black Cousins. A bit trite, though, not bad. I overworked my brain on these: Indies, Ahoy! Southward and Indies Interlude Black Black Indies Black Antilles Black Country Antilles Visit Hurricane Islands\n\nWe compromised on \u201cBlack Cousins.\u201d Park Cine Laboratory, a New York professional titling firm, offered a fitting West Indies background showing ship, waves, and palms, and Park Cine did the shooting.\n\nTo secure ideas for title wording, we researched travel magazines, guide books, and steamships.\nThe mulatto elite reside on the hills behind Port au Prince, Haiti's capital city. Instead of a label title such as \"Jamaica's Roads Are Awful,\" facts and figures were included: Jamaica, fifty miles wide and three times as long, has over 4,000 miles of roads. This title hints at the following scenes and reveals the island's size and extent of highways.\n\nEstablishing Contrast:\n\nThe three-reeler was almost complete, except for padding and something contrasty. Let's see. We have Black Cousins and Eskimos. Eskimos live in igloos.\nmade  of  snow.  Well,  why  not  show  a \ntable-top  igloo,  with  a  few  travel  fold\u00ac \ners  being  snowed  under?  The  intro\u00ac \nductory  title  could  read  something  like \nthis: \nEven  our  Eskimo  cousins \nAren\u2019t  crazy  about  snow; \nThey\u2019d  sooner  mush  south \nWhere  the  hurricanes  blow. \nA  couple  rolls  of  cotton  batting  were \nspread  over  a  card  table  top,  some  of \n(Continued  on  Page  231) \n208  American  Cinematographer  \u2022 \nHow  About  YOUR  Skylines? \nTODAY,  it\u2019s  easy  .  .  .  and \neconomical  ...  to  make \nmovies  that  are  just  as  outstand\u00ac \ning  as  New  York\u2019s  skyline. \nThe  solution  is  in  Agfa  Ansco\u2019s \ntwo  low-priced  1 6mm.  films \u2014 the \npopular  Fine-Grain  Plenachrome \nReversible  and  the  new  Panchro\u00ac \nmatic  Reversible. \nYou\u2019ll  find  these  companion  films \nexcellent  for  general  outdoor  use \nwith  a  choice  of  a  fully  ortho- \nchromatic  sensitivity  in  Fine- \nGrain  Plenachrome  Reversible  or \nof  a  well-balanced  sensitivity  to \n16mm. All colors in Panchromatic Reversible. Their speeds are approximately equal in daylight while both have wide latitude and their fine grain permits large projection without loss of detail. Try these two films this season \u2014 to ensure clear, sparkling screen results. Both are available in 100-foot rolls at $4.50 and in 50-foot rolls at $2.75, including processing and return postage.\n\nMade by Agfa Ansco Corporation in Binghamton, NY.\n16mm. Fine-Grain Plenachrome Reversible Film\n16mm. Panchromatic Reversible Film\n\nStereoscopic color motion pictures in 8mm. were publicly demonstrated April 11 to the Glendale Lens and Shutter Club by Dr. O. E. Ghrist, eye specialist, and one of the club\u2019s members. This is the first time an amateur cinematographer has successfully presented such.\nDr. Ghrist uses polarized light principles to show 8mm color stereoscopic pictures to an audience. The same principles have been successfully used in the 16mm and 35mm fields, but the 8mm adaptation is believed to be the most successful in terms of simplicity, cost of equipment, and cost of producing stereoscopic movies.\n\nTo produce the stereo effect in a picture, two photographs of the subject must be taken from different angles and approximately in the same relation as the two eyes see the picture. In reproducing the stereo, or third dimension, each eye must see only one picture, not the other.\n\nThis is accomplished in projection by using two projectors in synchronization, with each image being projected through a pola screen, one arranged vertical and the other horizontal.\nA person wearing glasses with polar screens views a stereo photograph. Each eye sees a different image due to the polarized light principle. Dr. Ghrist uses two Cine-Kodak Model 20 cameras for taking stereo pictures. The cameras are mounted on a common base with a shaft connecting them. Each end of the shaft has a cog wheel that meshes with a large cog wheel in the motor mechanism of the camera. An opening has been cut into the bottom of each camera case for access to the winding mechanism.\nThe cameras connect to the external gear and shaft through their winding gears. The cameras are mounted on the base using their tripod threads, with each winding gear meshing with the external gear and shaft for complete synchronization. For added rigidity, a removable brace is attached to the back of the two cameras to keep them aligned. This setup allows for either camera to be quickly removed for regular picture-taking. The base can be attached to a tripod, or the two machines and base together are light enough for handheld operation. Since the two cameras are mechanically synced, one starting button is left permanently on, and the two cameras capture images simultaneously on one screen.\nEras started and stopped with the use of a single control button. The pola screens have no connection to camera work. The polarized light principle is only utilized in the projection process. Either black and white or color pictures can be made, and filters have the same use as in single camera photography. With proper adaptation, the same special effects are possible, as well as additional ones employing the stereo effect.\n\nIn projection, Dr. Ghrist uses two 500-watt Eastman projectors, locked in a mounting base with a gear on each end that meshes with gears in the camera motor for synchronization. Synchronization is also achieved by means of a shaft and universal joint. It is a simple matter to disconnect the shafts.\nUse one projector alone for regular operation. In front of the lens of the right-hand projector (facing the screen), Dr. Ghrist has mounted a pola screen so that its axis of light filtration is on a horizontal plane. In front of the left projector is an identical screen except that it is mounted so that its axis of light filtration is on a vertical plane. The two films are projected on the same screen on top of each other, in rough registration. Since the films are the same scenes at different angles, exact registration is impossible, and it is not necessary.\n\nThe audience is given individual pairs of glasses, each pair having a vertical plane pola screen in the left lens and a horizontal plane pola screen in the right lens, corresponding to the two screens in front of the synchronous projectors.\n\nThus, the left eye sees only the image from the horizontal plane screen, and the right eye sees only the image from the vertical plane screen.\nThe age of the left projector, while the right eye sees only the image of the right projector, results in third dimension motion pictures in this modern version of the old-fashioned stereoscope. The two films must run in exact synchronization. This requires they be photographed, edited, and threaded in exact relation to each other. The problems involved are much the same as those of the professional 35mm cutter with his separate picture and sound tracks.\n\nDr. Ghrist found the easiest way to check synchronization after the two films come back from processing is to go back to the end of a scene, match the two ends exactly, and then wind forward again and mark the film for sync at the beginning of the scene. This editing process can be simplified further by building a sync machine similar to that employed by 35mm sound.\nFilm editors. Since the cameras stop exactly together, the use of a visual slate-clapper of 35mm. sound for synchronization is not necessary. Another editing item that must be watched closely is ensuring the left and right images do not get mixed. The beginning of each reel is marked left and right, and each reel has a sync or \u201cstart mark\u201d corresponding to a reference point on the projectors. The film is threaded with the start marks at the exact reference point, and the projectors are started in sync. This is substantially the same problem, solved much the same way, as the 35mm. sound editor encounters with his work prints of picture and sound. Dr. Ghrist found that much experimenting was necessary to find the best screen for this work. The screen must be able to reflect polarized light.\nApplied in one direction, a silver screen was used for cinematography due to its ability to reflect light most easily. In painting the screen, the metallic silver paint was applied with an air brush, moving consistently in the same direction. A beaded screen is not effective for this type of work.\n\nPolarizing screens permit only polarized light to pass through them, acting as strong neutral density filters. Consequently, powerful projectors are almost required to offset the neutral density effect and project an acceptable large screen image.\n\nAt the Glendale Lens and Shutter Club demonstration, the pictures were projected.\nThe screen, approximately 30 by 40 inches in size, was large enough to accommodate the thirty-five persons present and possessed sufficient brilliance to counteract the effect of the polarized screens. The illusion of depth was excellent, and the picture quality was as good as that of a regular two-dimensional motion picture. Many times, the stereo effect made trees and objects appear in the middle of the room rather than coming from a flat motion picture screen some distance back where the object appeared to be located.\n\nFor those who have seen Pete Smith\u2019s Audiospek short subjects, the motion picture stereo effect is not new. However, while the Pete Smith commercial variety is viewed through red and green gelatin filters, the polarized light filters of Dr. Ghrist\u2019s amateur outfit produce black and white pictures in actual black and white, and color pictures in color.\nDr. Ghrist believed in adapting stereo movies to commercial pictures using the same natural color as one sees in regular two-dimensional film. Instead of using two cameras, he thought it possible to take both images on the same film, one above the other. Dr. Ghrist is seen wearing polarized screen glasses necessary for stereoscopic motion pictures on the left. The two projectors used are visible beside him. The polar screens are taped in front of each projection lens. On the right, synchronized projectors used in 8mm stereoscopic pictures are shown, with the polar screens immediately in front of each projection lens, held by tape. After experimentation, the screens will be permanently mounted, using the same principle as the Leica does with stereo still pictures. On projection, the pictures might be:\nThe text projects one frame in the vertical plane and the complementary frame in the horizontal plane, alternatingly, using a pola screen shutter. Each picture appears 16 times per second with a film speed of 32 frames. Synchronization of sound would need to be increased to keep up with the fast-moving stereo film. Dr. Ghrist believes there is little or no possibility of third dimension films without special viewing glasses for the audience. As a practicing eye physician, he lends credence to this argument. A law of optics in the stereo process requires each eye to see a different image, and the stereo effect has never been produced without some mechanical or optical device.\nclose  to  the  eye  itself  forcing  this  in\u00ac \ndividual  eye-view  requirement. \nAgfa  Lowers  Camera  Prices \nReflecting  the  spreading  interest  in \npicture  taking  during  the  past  year  is \nthe  announcement  of  important  price  re\u00ac \nductions  on  Agfa  cameras.  Made  pos\u00ac \nsible  by  the  growing  demand  for  Agfa \ncameras  in  recent  months,  this  price \nreduction  should  further  influence  the \nwidening  of  the  photographic  field  and \nbringing  the  enjoyment  of  picture-tak\u00ac \ning  to  those  who  previously  felt  they \ncouldn\u2019t  afford  to  own  a  good  camera. \nNo  features  in  the  design  or  construc\u00ac \ntion  of  these  amateur  cameras  made  by \nAgfa  Ansco  Corporation  have  been \nchanged  or  cheapened  to  enable  these \nprice  reductions.  In  fact,  many  of  the \ncurrent  models  incorporate  new  improve\u00ac \nments  and  refinements. \nMay,  1939  \u2022  American  Cinematographer  211 \nRULING \nFAVORITES \nEASTMAN\u2019S  three  new  motion  picture  neg\u00ac \nActive films have quickly established themselves as industry favorites. Plus-X for general studio work, Super-XX for difficult exposures, fine-grained Background-X for backgrounds and all-round exterior work. Each makes its special contribution, and all have that typical reliability closely identified with Eastman films.\n\nEastman Kodak Company, Rochester, N.Y. (J.E. Brulatour, Inc., Distributors, Fort Lee, Chicago, Hollywood.)\n\nEastman Plus-X ...\nSuper-XX ...\nBackground-X\n\n\"Fast films and color have made big light changes\" (Gene Kornmann, Twentieth Century-Fox Portrait Gallery)\n\nCommercial and portrait photographers frequently comment on the lighting equipment when visiting our gallery at the Twentieth Century-Fox lot in Hollywood.\nFor over twenty years, I have been a \"still photographer\" in Hollywood. For more than two decades, lights have been the biggest problem. Lighting engineers and optical experts will continue to improve lights. However, the introduction of fast films has brought such startling changes that we old timers are left wondering how present units could be further improved.\n\nThe backstage shot accompanying this article depicts a typical portrait setup in our gallery. Five Bardwell & McAlister 500-750 Watt Baby Keg-Lites are used. The foreground light is equipped with a 500 watt, 100 volt, T20 Mazda globe, and a B&M Foco.\nThe four other lights are equipped with standard 500 watt, 120 volt, T20 Mazda globes. A total of 2500 watts provides all the necessary light. The key light is mounted high and almost full-face on the subject, the two back lights bring out highlights on hair and shoulders, the light in the right foreground is focused at a medium flood to fill in shadows and round out features; the fifth light is equipped with Foco Spot, which in this shot is used only for the circle of light on the background.\n\nYou will notice only the key light is diffused. I have found a flesh-colored gelatine diffuser to be the most satisfactory in conjunction with fast films. In many cases, however, no diffuser is necessary.\n\nThe Foco Spot is in reality the most effective light.\nImportant piece of lighting equipment in our studios is the Baby Keg-Lite, featuring Nancy Kelly, Twentieth Century-Fox player. (Photo by Gene Kornmann) This attachment replaces the old arc spot, providing sharp shadows, either round or rectangular, silhouettes, background designs, and highlighting. The new photographic machinery offers numerous uses, warranting a dedicated article. It takes time to light any photographic subject properly, and time is money in a motion picture portrait gallery. Every week, I personally expose an average of 500 negatives, totaling about 25,000 annually. Tough Eggs to Please Every print released by our studio must be approved by at least three persons: the star, the head of the publicity department, and the releasing publicity man.\nFor release to newspapers, snappy commercial prints with strong contrasts and sharp shadows are required. The magazines insist on artistic poses, soft shadows, silhouettes, special backgrounds or fashion effects. Lastly, prints for trade magazines and posters with light backgrounds are needed, which may be recut and used in composite groups or superimposed.\n\nAll prints must be good photographs, not just pictures. You will see why lights are such an important part of our equipment and why we enthuse over those now in use. You may ask, \"What has become of the arcs, big heavy sunspots and overhead floods?\" I am glad to tell you that they have been completely eliminated as far as Twentieth Century-Fox portrait gallery is concerned.\n\nFor the new fast films and Kodachrome, we find these new lights ideal. We have made many excellent portraits with them.\nTraits use only one light. In no case do we use more than four plus one equipped with the Foco Spot attachment. These lights can be focused instantly by a slight pressure on the arm which protrudes both front and rear. Their range is from a 4-degree spot to a 44-degree flood\u2014 control, which we never dreamed of two years ago.\n\nAnother great time-saver is the mobility of the Baby Kegs. They weigh only 28 pounds complete with double riser stands, which at the top put your light center nine feet from the floor. Generous rubber casters and high center stands add to the quick and silent placing in any position.\n\nThe portrait of Nancy Kelly, Twentieth Century-Fox player, which accompanies this story, was made with the light setup as shown in the backstage shot. Exposure was 1/25 of a second with aperture f/8. This picture.\nThe use of the old lighting technique would have been most difficult. Here is a natural smile caught as we were visiting; no trace of light consciousness. \"American Cinematographer\" 213 and yet the shadows and highlights would do credit to an arc.\n\nThe evenness and intensity of these new lights are, of course, far more important than the time-saving points I have mentioned.\n\nRemember the old days of Klieg eyes? Remember how many times the arcs sputtered and died just as you were setting up? Hot spots and dark rings always seemed to be in the wrong places, and so many times it took the negative to show them up.\n\nAll of these troubles have vanished with us. Today we have lights that are \"optically correct\" with an even white field from spot to flood. We can change our light values instantly, compare and study shadows in a fraction of the time formerly required.\nIn many occasions, we are required to make portraits in a star's home. These \"home portrait\" jobs presented a real problem. Arcs were out of the question. The moving of heavy sun spots and floods over expensive oriental rugs, up and down stairs, and in a completely furnished room meant trouble for the camera man and crew, not to mention the inconvenience and cost.\n\nUsing our new equipment, we can operate in any home without fear of breaking furniture or bric-a-brac. With many stars, the first \"home portrait\" session was the last one (at their request).\n\nYes, we are making many colored portraits in the Twentieth Century-Fox portrait gallery. We have had the best results with Kodachrome, and our critics tell us we are producing some excellent work.\n\nHow many times have you, as a photographer, looked into the ground?\nIf I could only capture the picture I see, glass and thought. Kodachrome gives you that opportunity. Some friends view color photography as a dark, deep, mystic art, but to me it is more simple than black and white. Gene Kornmann, with his five lights, photographs Nancy Kelly at the Twentieth Century-Fox portrait gallery. Photo by Frank Powolny. I analyze colors as they appear on the ground glass, and Kodachrome will reproduce them just as they are, just as I see them through my own eyes. Each color has a value, and I try to light each one to bring out the quality which my eyes tell me is correct and natural. In all my work, whether black and white or Kodachrome, I use a Weston light meter with a trick collapsible shade of my own manufacture. After many trials and errors, I have found that the manufacturer...\nFilm producers know more about correct exposure than I do. I follow their instructions and trust the Weston. Every new achievement and invention in the photographic field opens up avenues for countless other ideas seeking perfection. Sometimes we fight new ideas and hesitate to adopt or even try them.\n\nPersonally, my ego has been flattened so many times that I try to believe everything I hear, see, or read, unless I know from actual experience that it is not true or that it cannot be done.\n\nMay 1939, American Cinematographer\nPractical Gadgets\nCamera\nToland\u2019s outfit at work. Note \u201cfiller\u201d lights on the front of the camera, hydraulic-hoist rolling tripod, and remote-control focusing dial in the hands of Assistant Edward Garvin, left foreground.\n\nModern studio cinematographic equipment has, on the whole,\nReached a stage of excellent technical efficiency. But no instruments turned out on a production basis can fulfill all the desires of such an individual group as are the cinematographers, and at the same time conform to the reasonable restrictions of cost. Accordingly, practically every cinematographer and studio in the industry has added some refinements or accessories to better adapt commercial equipment to individual conditions. In some cases, where such gadgets correct widely felt inconveniences, they often spread beyond the confines of the unit or studio of their origin and are applied in any studio where they seem useful. A notable example of this is the now almost industry-wide practice of fitting a small public address system to conventional blimped cameras, so that the cinematographer can, by means of this, communicate more effectively with the director and crew during filming.\nThe first use of a convenient microphone inside a blimp for giving instructions to cast and crew without looking away from the camera's focusing screen is generally attributed to William Daniels, A.S.C., at Metro-Goldwyn-Mayer. However, scarcely any studio lacks knowledge and use of the \"peeping mic\" today.\n\nGoldwyn's cooperative attitude\nOpportunities for the development of these practical gadgets vary, depending on studio and production conditions. In my case, the relatively limited production of the Samuel Goldwyn unit, along with Mr. Goldwyn's cooperative attitude toward anything that enhances his productions, provides frequent opportunities for developing any idea that shows promise of improving or facilitating camerawork.\n\nTherefore, during the past few months\nThe writer and his crew have utilized a number of accessories, of minor importance individually, yet collectively proving worthwhile production conveniences. Previously, this journal published a description of the hydraulically-operated rolling tripod developed for our Mitchell \u201cBNC\u201d sound camera. Since this self-blimped camera eliminates the extra bulk and weight of the typical blimp, a much lighter construction is possible in the camera carriage.\n\nThe camera is supported on a triple-extension hydraulic lift and braced by three telescopic, tubular braces fitted with conventional locking screws. The camera is raised from a lowest position with the lens considerably below waist-high to a maximum elevation of over six feet by means of a conveniently operated foot pump. It is lowered by turning a handy release.\n\nA description of the hydraulically-operated rolling tripod developed for our Mitchell \u201cBNC\u201d sound camera was previously published in this journal. This self-blimped camera eliminates the extra bulk and weight of a typical blimp, allowing for a much lighter construction in the camera carriage.\n\nThe camera rests on a triple-extension hydraulic lift and is braced by three telescopic, tubular braces fitted with conventional locking screws. The camera is raised from its lowest position, with the lens below waist-high, to a maximum height of over six feet using a foot-operated pump. It is lowered by turning a handy release.\nA single unit replaces both the standard and \"baby\" tripods, filling every purpose except making shots where a dolly or crane is necessary. When we made \"Goldwyn Follies\" last year, the remote control focusing feature of the Technicolor cameras impressed us all. We have recently adapted it to monochrome use on our \"BNC\" and have found it equally useful. In making the adaptation, we believe, we have added a couple of minor refinements which make the device even more practical.\n\nOperating Principle:\nThe operating principle of the remote control focuser is simple, as it is based on the action of a pair of synchro motors. One of these acts as a generator, the second as a motor.\n\nWhen the armature of the generator rotates, it generates an electrical signal which is transmitted to the focusing motor via a synchro transmitter. The focusing motor, receiving this signal, rotates in the same direction and at the same speed as the generator, thus focusing the lens.\nAbove and below the lens, a cylindrical housing holds the selsyn focusing motor at the left. (2) The camera is in a low position on Toland\u2019s hydraulic-hoist tripod. Note the position of the \u201cfiller\u201d lamps is reversed in comparison to Fig. 1, with the small unit below the lens and the large one above. (3) An auxiliary step ladder is hung on the lamp pedestal. Note the supplementary wheel which braces and locks the lamp stand. (U) Close-up view of mounting of auxiliary \"filler\" lights. (5) Velocilator dolly on Toland\u2019s duralumin track. Note also the sliding bed for supporting the tiltlead. (6) Close view of the controller and generator of the remote control focusing system. Note that the operator's hand is clear of the dial at all times. Button below the dial controls dual-speed gearing. (7) Toland\u2019s auxiliary \u201cfiller\u201d lights are mounted on Mitchell \u2018BNC\u2019 camera.\nNote: Rotate sunshades over lens and finder's eyepiece.\nMay 1939, American Cinematographer 217: When rotated, it generates in its field a small current which is transmitted to the field of the motor and in turn causes the armature of the motor to move in exact synchronism. The armature of the generator is coupled to a conventional focusing dial. The armature of the motor revolves the gears which focus the camera lens. Therefore, as the focusing dial - which may be at the end of a cable of any desired length - is operated, the camera lens is focused as accurately as though the assistant were manipulating the usual dial directly on the camera.\n\nWe have added to the familiar unit a pair of bevel gears and a shaft which extend the operating crank to the side of the device, as illustrated.\nCalibrations on the dial are not obscured by the operator's hand. Another addition is a dual-ratio gearing between the scale and the generator, allowing the operator to have either a slow or fast movement.\n\nIn practice, this device has proved valuable. It relieves the assistant of the necessity of crowding in close to the camera \u2013 a real convenience in close quarters \u2013 and enables him to handle focus changes from any convenient vantage point.\n\nIn making dolly and boom shots, or even in ordinary panning and tilting, it is an asset. In such shots, the operative's work is often made more difficult if he has to worry about an assistant's fingers clinging to the usual focusing controls directly beneath his finder. With the selsyn remote focus, the assistant can concentrate on focus, and the operative on camera movement, without fear of interfering.\nCinematographers have found it desirable at times to suspend small lighting units from camera or blimp to provide soft lighting, especially in closer shots that pan or travel with the camera and subject. In the past, such units have ranged from \"broads\" and rifles to baby spots. Today, with modern fast films and the low lighting levels that come with them, such supplementary illumination need not be of high intensity but is still needed. For this purpose, we have built up a pair of convenient little floodlighting units which may be mounted on our BNC. The larger of the two houses two 500-watt globes; the smaller, two 165-watt units. Both are fitted with suitable, semi-permanent ground-glass diffusers, and have slides to take any additional diffusion.\nThe heat from the globes is carried off through L-shaped ventilators, which also serve as light baffles. The ventilator on the larger unit is reversible, so that the heat may be directed to the side away from the operating crew. The mountings for these two units are interchangeable, allowing either the large or the small one to be used in either position, above the lens or below, as the scene requires. In the upper position, the unit is attached to a fitting directly on the camera's magazine-cover; in the lower position, the lamp is attached to a similar fitting on extension arms attached to the tilt-head of the tripod.\n\nThe mounting of the smaller unit incorporates a tilting adjustment, while the larger unit is fitted with a socket for mounting on a conventional lamp pedestal.\n\n(Counterbalance)\n\nFusing and carrying heat from the globes are done through L-shaped ventilators, functioning as both heat dispersers and light baffles. The larger unit's ventilator is reversible, enabling heat redirection to the side opposite the operating crew. Interchangeable mountings allow the use of either the large or small unit in either the upper position (attached to the camera's magazine-cover) or the lower position (attached to extension arms on the tripod's tilt-head). The smaller unit includes a tilting adjustment, while the larger unit is equipped with a socket for mounting on a standard lamp pedestal.\nWhile these lamps are lighter than conventional ones, mounting them on the front of the camera is still sufficient to alter the normal balance of the outfit. To offset this, a special top plate has been fitted to the tripod-head. In this, the screws holding the camera to the tripod head pass through slots. So that when the lamps are to be used, the screws can be loosened, the camera slid backward to counterbalance the added weight ahead, and the screws tightened again.\n\nDuring recent years, we've grown accustomed to fitting auxiliary sunshades over camera lenses and blimps. And since using the BNC, we've found it convenient to do the same for the finder.\n\nOn our camera, a small, three-sided sunshade fits over the lens of the finder, and a similar but wider one shields it.\nThe finder's rear aperture has proven a practical convenience.\n\nRegg Toland has won photographic honors from the Hollywood Reporter's poll for March releases for the second time in ten months. It is the first time in the year the poll has been in operation that one cinematographer has been declared a two-time winner.\n\nFor March, Toland was a winner by a generous margin with Goldwyn's \"Wuthering Heights.\" The second choice was Joseph Ruttenberg and Oliver Marsh with \"Ice Follies,\" and the third was Robert De Grasse with \"The Castles.\"\n\nLast June, the subject was Twentieth Century-Fox's \"Kidnapped,\" a product of a studio other than his home grounds. But he carried along with him his own crew, as is usual in parallel cases.\nThese were the operative cameraman, assistant gaffer, best boy, and grip. The everyday routine is making small adjustments of lamps used on the floor, but on high-extended pedestals. The usual practice of standing on a small, sturdy box is effective, but it first requires that the box be available\u2014which is not always the case on a busy set.\n\nClimbing onto the lamp-pedestal itself can be dangerous due to the danger of overbalancing the lamp or inadvertently sliding it out of position on its casters.\n\nWe\u2019ve developed a useful accessory for this. Constructed largely of welded tubing, it consists of a four-step ladder which can be hung quickly over the diagonal braces of the lamp-stand. A caster action wheel permits it to be moved readily with the lamp, and a toe-controlled friction type brake permits this wheel to be either locked or unlocked.\nWith this attached to more important floor lighting units, it is a simple matter to reach the lamp for making any necessary adjustments of focus, direction, or diffusion.\n\nSecure Against Accident\nThe supplementary wheel prevents the operator's weight from overbalancing the lamp, while the locking feature holds the lamp firmly in place, secure against accidental movement.\n\nSince dollies and small cranes have come into universal use, the problem of providing an adequately smooth, firm surface for them to roll upon has been important. Everyone has his own idea of what should constitute a practical dolly track; but it is generally agreed that it should be smooth, rigidly aligned, compact when not in use, and that some means should be provided for getting the heavy dolly on to the track easily and quickly.\nThe track is made of durable aluminum I-beams, rigidly held in place by K-shaped duralumin struts, bolted into place. These standardized sections can be fitted together to form a track of any desired length, yet when disassembled take up a minimum of space. Lifting the dolly onto the track is eliminated by a pair of detachable ramps. These are of the same channel section as the track, but tapered downward to afford a sloping surface up which the dolly-wheels may be rolled. Another useful accessory seen in the illustration is the sliding base for the tilthead. This has been described previously, as it has been in use some time, but it is so handy an accessory that we make extensive use of it. It is simply an accurately made plate some two feet long, fitted with a rack into which meshes a pinion on the tilthead base.\nWith this, the camera may be racked to one side or the other without having to reposition the entire dolly - a considerable convenience, especially when operating in cramped quarters.\n\n218 American Cinematographer\nCHESTER, N. Y.\nEASTMAN KODAK COMPANY,\nCINE-KODAK SUPER-X\n\nSuper-X has speed. It is fully as fast as \"SS\" Pan; twice as fast as ordinary Pan. It affords ample speed for movies indoors under Photofloods or outdoors from dawn to sundown. Super-X has truly fine grain, a clean-cut quality unequaled for large-size projection, viewed closely. Super-X has brilliance and sparkle that add new vitality to black-and-white movies. Super-X is fully panchromatic, responds accurately to the action of Cine-Kodak and Wratten filters. In short, Super-X establishes a new standard of excellence in 16 mm. black-and-white movie making. It brings to this medium a level of quality never before achieved.\nIn May, 1939, issue 219 of American Cinematographer, one encounters in Pershing Square, Los Angeles, an atmosphere of peace in some spots, while in others there is varying degrees of disharmony as those who have won in the world's battle join issue with those who have lost. Photos from Dr. Roy E. Gerstenkorn's 16mm film \"The Caldron\" depict this scene predominantly through telephoto lenses.\n\nMakes Film Record of Public Park\n\nDr. Roy E. Gerstenkorn of [city], NY, has produced a film entitled \"The Caldron\" using Eastman Kodak's Cine-Kodak Super-X Panchromatic Safety Film. This film is available in 200-ft. rolls and 50-ft. magazines, with processing and return included in the price.\n\nCine-Kodak Super-X Panchromatic Safety Film\nAvailable in 200-ft. rolls and 50-ft. magazines\n$3.50 per packet\nProcessing and return included\n\nMade in USA\nTBA0E mark\n\nAmerican Cinematographer 220 \u2022 May, 1939\nLos Angeles decided to make a picture - a genuine documentary, as it later proved to be - of Pershing Square in his own town. He gave it no particular thought. To him, it was just another picture. There was no discoverable difficulty connected with making a record of the men and women, boys and girls, dogs and pigeons, who there congregate and pass the hours long or short as individually they may be.\n\nThe doctor has made pictures in many parts of the world, and some of these were in a manner of speaking a bit hazardous. Not that this statement would apply to the pictures he exposed in Japan, where he went into the byways and fraternized with the rural Japanese and filmed their customs, family, and religious practices. But that was a couple or more years ago.\nHe traveled through and photographed the Gorges of the Yangtse Kiang, the final six of the fifteen hundred miles from Shanghai to Chungking. Forty percent of the distance steamer pilots anchor at sundown due to the dangers of the swift currents and narrow twists and turns. There was a time in Africa when a full-grown lioness left her kill and wandered over to the automobile slowly coming to a stop. The doctor held a motion picture camera. The big animal was really curious and none too benevolent in bearing as she stopped within ten feet of the camera and stood there by the front fender, allowing a perfect record to be made of her. If you make an inquiry, the doctor will concede the incident is still quite keen in his memory.\nDoctor Gerstenkorn's first close-up of a lion: Before finishing his 400-foot reel of 16mm film in Pershing Square, he found it necessary to make ten visits. He worked carefully, discarding only scarcely 150 feet of film. The doctor's objective was to make a record of the park as it is revealed to a casual visitor. His foreword in the film better describes it: \"A cross section of life in Pershing Square... a small green spot in the heart of Los Angeles downtown business section. Some come here to rest, read and relax; others, sad to relate, come to argue and agitate... Many come to solve the problems of the world... but have failed to solve their own.\" On his first trip with tripod and camera, he decided all exposures had better be made with a telephoto lens. Very nearly, that proved to be the case.\nThe doctor used his one-inch lens only in a few shots. He employed three, four and a half, and six inch lenses. Working at an average distance of seventy-five feet, he was practically uninterrupted by those in the field of his camera, except for a couple of men. One of them \"ducked\" suddenly and promptly made his way to the cameraman. There he unburdened himself, making several unfair accusations. He charged the doctor with being an agent of the police and one of the unconscious subjects being a policeman on duty. He also accused him of being a representative of the Dies committee and a local newspaper popular in ultra-conservative circles, and of various other affiliations.\n\nBefore starting to roll each day, the doctor made it a point carefully to:\nMeasuring the distance between his camera and the benches or spots for photography, the photographer then checked the results through his Kodak Special's critical focuser. The excellent photography that ensued compensated him for his efforts. One experience, however, may be of interest to other filmers. A well-to-do citizen pursued his benevolent hobby of feeding the pigeons, who fought to eat out of his hand and crowded over him.\n\nHis camera focused on the face of an elderly woman when he shifted focus to the face of an attractive baby behind. Of course, the elderly woman was relegated to secondary importance and was not in full focus.\n\nAt a recent club showing of \"The Caldron,\" the operator failed to note the shift to the baby. Instead, he noted the out-of-focus situation on the elderly woman's face.\nAn elderly woman, whom he corrected. The focus remained on her for the rest of the film. In commenting on the incident, the doctor said he had been inclined to throw out the sequence but had liked it and let it stay. Since then, he had cut it out. He agreed that the only spot to put a similar sequence might be at the finish, but the probabilities were against it fitting in. Audience reaction to the picture is the sort to encourage a picture maker. Laughs come at unexpected places, particularly in some instances where the park again becomes a forum for those who never miss an opportunity to listen to the sound of their own voices, to \u201ctell the world\u201d what's wrong with it. The earnestness of the speakers is accentuated by its transference to the screen.\nput into pantomime and the voice is taken away. There is drama, too, as well as near tragedy in the bearing of many of the park\u2019s visitors as they sit, perhaps alone, apparently looking into the camera but really into vacancy, or reading a letter or a newspaper. The well-to-do and the ne\u2019er-do-wells are both represented. Where one of the former feeds the pigeons, the latter, as they swarm over the body of their benefactor, are the objects of human eyes following them with more than casual, perhaps hungry, interest.\n\nTwo Kodachrome films mounted free by Kodak. After April 1, 1939, the Eastman Kodak Company announced all miniature camera Kodachrome Film K828 and K135 sent in for processing will be returned in the form of individual transparencies, ready-mounted for immediate projection and with no added charge.\nKodak's new service includes lacquering the emulsion side of each roll of film after processing as protection against finger marks. Cutting the frames apart and mounting each frame in a serially numbered Kodaslide Ready Mount. These new Ready Mounts are made of tough, smooth-finish, specially prepared pressboard. Far lighter in weight than the conventional 2 by 2 inch glass slide, they are also much thinner, allowing for more to be stored or carried in an equivalent space. Unlike glass slides, they do not crack or shatter if dropped, and their toughness is such as to withstand all reasonable handling. When returned to the sender, Kodaslide Ready Mounts will be numbered consecutively to correspond to the picture sequence on the film roll \u2014 1 to 18 for an 18-exposure roll of No. K135 Kodachrome and 1 to 8 for an 8-exposure roll exposed in No. K828 \"Kodak Brown.\"\nKodachrome film users who wish to have their films returned unmounted and in complete rolls can indicate this by clipping a corner of the address tag when sending in film for processing after April 1. Packages with clipped tags require first-class postage. For the convenience of those who wish to mount their own transparencies, \"blank\" Kodaslide Ready Mounts will be marketed after April 1 in the No. 828 and No. 135 sizes. The film transparency is easily slipped into the mount, and mounting is completed in a few seconds. These \"blank\" mounts are also convenient for the black and white film positives which many miniature cameras use.\nUsers now make use of color films supplementally. With the announcement of its new mounting service, a major development in the field of home projection, the Eastman Kodak Company announces a new, compact, highly efficient and moderately priced slide projector \u2014 the Kodaslide Projector, Model 2. Ideally adapted for showing 2 by 2 inch Kodachrome or black and white slides, either in the new ready mount form or glass mounted.\n\nFor the owners of older projectors, whose slide carriers or slots are not yet adapted to the new, thinner slide mounting, Kodak also announces two helpful devices. These will adapt such projectors for convenient showing of transparencies in Kodaslide Ready Mounts.\n\nOne device is the Ready Mount metal frame. These frames, the same size and thickness as a conventional 2 by 2 inch glass slide, will be available in April.\nA Kodaslide Ready Mount slips into each frame and can be used in the same manner as a glass slide. After a group of slides is shown, other Ready Mounts can be substituted readily in the same metal frames.\n\nThe other new device is a Ready Mount Adapter for the Kodaslide Projector, Model A. It inserts in the slide guide of this projector, and Ready Mounts are fed through by means of a sliding member. As each Ready Mount is moved into place, it pushes the preceding slide into the receiving holder at the projector base. As when showing other slides with this projector, the screen may be darkened between picture changes by raising the shifting lever.\n\nPrices of these new Eastman developments, other than the new cost-free ready-mount service for Kodachrome transparencies, are:\n\nKodaslide Ready Mounts for personal mounting of black and white film positives.\nReady for 135 film size: Ready Mount Metal Frames, packages of six for $0.60. Ready Mount Adapter for Kodaslide Projector, Model A, $3. Located on Plaza IV, New York World's Fair building of the Eastman Kodak Company. Modern and detailed, houses an enormous exhibit symbolic of photography's growth and progress in the past century. Building, with a total area of 22,000 square feet, beautifully landscaped plot covering over 2,000 square feet.\n\nPictured above, a view of the building showing the photographic garden. This landscaped plot adds further entertainment for visitors to the exhibit. They may take souvenir snapshots of their friends and relatives in interesting and attractive settings.\nPhoto-mural backgrounds if they choose.\nSPi.\n222 American Cinematographer \u2022 May, 1939\nShooting from Air Uncovers Camera Marvels\nView of Black Canyon, near Boulder Dam.\nA virgin field of photographic marvels is open to camera enthusiasts who have not yet taken to the air for \u201csomething different.\u201d Western States offer greater opportunities for minicam and movie addicts than any other area in the nation.\nSuppose you were to plan a vacation in this Western wonderland for this year. You can easily cover seven states in fourteen days. All that is needed is to back your pleasure jaunt with a traveling bag and a good supply of film. If you motor, you might get as far as Boulder Dam and find so many photographic possibilities that your vacation would end right there.\nSo climb aboard an airship, plump yourself into that comfortable chair.\nNear the back of the cabin, have your filters at hand and keep an eye peeled for a shot. You won't have to wait long. If you should sit forward, you will find that the plane wing serves as an excellent sunshade under most conditions. You cannot depend too strongly on your light meter, for you will often be fooled by the reflected light of the metallic wings. Your judgment therefore should be tempered accordingly.\n\nFilter Will Cut Haze\nMuch of the haze, present under average conditions, will be cut with a good filter. You will obtain generally excellent results at f/8 when shooting from the air. Do not be overly concerned about your traveling speed. The stewardess may tell you that you are scooting along at two hundred miles an hour, but do not let that warp your judgment when setting your camera speed.\n\nIf, at Los Angeles, you board the\nWestern Air Express plane to Salt Lake. You won't wait long for the first chance. Mint Canyon, the great Mojave Desert, then later, Lake Mead and Boulder Dam. The pilot will obligingly give you an oblique angle as you circle the great structure. You can bang away to your heart's content. A gentle hint to the stewardess that you are anxious for such-and-such a shot usually works wonders. The pilot is probably a nut on the subject, too. A few minutes later, colorful Cedar Breaks are below. If you have color film, you stand a cinch to catch something \u201carty.\u201d Next is Zion, where rock formations suggest every sort of photographic possibility. Of course, there is nothing preventing you from stopping over long enough for side trips to these places.\n\nStop at Yellowstone. (By Richard B. Stith, Flier and Photographer)\nAt your first destination, you will find Salt Lake City, a colorful metropolis. The Mormon Tabernacle, Salt Lake, the Wasatch range, and many other familiar landmarks are there, waiting for the \"new\" treatment you desire.\n\nContinuing north to Idaho, you will find a bird's-eye view of Bingham Canyon Mine - the largest open-cut mine in the world - at its best from the air. The Snake River Valley of Idaho is a favorite photographic subject for all who fly over it.\n\nYour Mainliner stops at Yellowstone, where ground and air offer probably the greatest possibilities for the amateur photographer in the world. You could spend a week here and only touch the edges when it comes to recording sights on film.\n\nContinuing north, your ship passes over the Continental Divide, where rivers decide which course they will take to the sea.\nIn Montana, you have the \"old West\" at its best, and of course, the great Anaconda Copper Mines and smelters. At Great Falls, you may hop off for a side trip into Glacier, where scenic grandeur is unrivaled in all the world \u2013 another place you might spend a week if your schedule didn't call for the westbound Northwest Air Lines ship to Seattle. And there is the finest harbor in the world, the green, fertile valleys of Washington, Mount Rainier and the colorful waterfront. Columbia River Gorge At Portland, your ship gives you a view of the wide expanse of the great Columbia and Willamette River basins. There is time for a side trip up the Columbia River gorge and probably one of the most photographed river beds in the world. Bonneville Dam is the newest subject matter offered. Off southward again, through your state capitol at Sacramento, the Imperial Valley, and the Redwood forests of California.\nFor a trip to the Imperial Valley and San Francisco, where the World Fair will be worth recording on film, the scenic and man-made marvels of the Golden Gate City are unrivaled. The Bay bridges offer breathtaking views. Your color film will be useful if the Bay grants one of its glorious sunsets. Top off your photographic cocktail here and return home on your United Air Line plane, with a trip that will be long remembered. Such a circle tour would be a lifetime of sightseeing for just two weeks of your 1939 vacation.\n\nFilming for Memento:\n\nWe have outlined our entire trip but have not decided what type of pictures we are going to take. It is one thing that must be decided before we start.\n\nMay, 1939 \u2022 American Cinematographer 223\nTop view of Los Angeles. Center, upward end of Lake Mead, where Colorado River enters. Above Zion Park. Tacular unreal photographic effects, or are you going to try to photograph the lovely scenery as it actually appears, so that months after the trip has been made you can review your films and see the scenery as it actually appeared? If you are shooting black and white and wish to reproduce things as they appear to the eye, about the only things needed are a good panchromatic film and an aero No. 2 filter. If you shoot color, do not use any filter at all. There is much discussion about filters for cutting the haze on color film, but after all, that haze is actually there when you see it with the eye, so why try to take it out? Spectacular photographic effects are all right when you are building a drama and using actors, but in the real world, they are not desirable.\nFinal analysis of your film and mine are very beautiful travelogues. Why not try to make them reproduce the scenery as near as possible? When shooting from the air, you may be warned about all the troubles you will have in shooting through the glass windows of your air transport, but do not let this deter you in your efforts. There have been many thousands of feet of beautiful black and white and color film shot through the windows of Air Line transports, and there is absolutely no reason, if you are careful and watch your halation and reflection on the glass, that your films cannot be just as good. Shoot at 64 a second. It would be impossible for you to take the door off the ship you are flying in and bolt a tripod down to the floor. A short cut that will give just as good results when viewed upon.\nThe screen is to shoot your film at 64 pictures a second. This extremely high speed will permit hand holding and will smooth out bumps or vibration when the picture is run at projection speed on your projector and screen at home. However, do not forget that the faster a film is run through the camera, the larger the lens aperture that must be used. Light meters are very important in aerial work. As stated earlier in this article, watch for a kick-back off the wings and be careful of your readings, and you will find that your meters are just as dependable as ever and can be trusted implicitly. Ninety percent of the bad results from light meters is the user\u2019s fault and not in the fault of the meter. So get out your camera and your accessories, clean up your lens, and try aerial filming. It is a grand sport.\nAnd with proper care, marvelous results may be obtained.\nMr. and Mrs. Marples, Film South Seas\nTahiti, the pearl of the Pacific\n... the isle of romance and beauty\n... where snowy terns sparkle against the azure sky\n... and graceful palms bend and sway in the cool trade winds\n... where steep verdant hills roll down to a coastline\nindented by innumerable bays that have offered alluring shelter for ships\nsince the Bounty anchored here 150 years ago\n... or to a rocky beach unprotected by the usual barrier reef\n... where dark valleys carry bubbling streams of cool, clear water that empty into lagoons of infinite stillness and beauty\n... where quiet lanes are paved with coral and banked with heavily perfumed tropic flowers\n... such as frangipani.\n\"The beautiful Bougainvillea and the stately Flamboyant... And that is the point in \"Islands Under the Wind\" where we will fade out before seeing the same thing on the screen marking the end of the picture's first sequence. But the vocal record voiced by Perce Marples gives the beholder an idea of the lure that goes with these pictures of the South Seas as Marples and Mrs. Marples found it and as we see it reflected in 1250 feet of Kodachrome on the screen.\n\nThe Marples were in the South Seas from January of 1938 to November of the same year. They came away enchanted with the atmosphere. Marples, in fact, thinks so well of his experiences in the islands he is seriously considering being back there and with a boat of his own.\n\nThe location geographically is something parallel to Hawaii.\"\nA trading schooner carrying the Marples will sail away for a visit to a rarely visited South Sea Island. Mr. and Mrs. Perce Marples, depicted in a passport photo on the left, are shown between their home in the South Seas and the ocean on the right. The territory of Uncle Sam is about 1200 miles north of where Tahiti is relatively the same distance south.\n\nTahitian Documentary\n\nThe Marples showed their picture at the March meeting of the Hollywood Forum. There was a narrative by the authors-producers, as well as a musical score. The theme was the life of a Tahitian family living in their simple, extremely primitive, almost idyllic way. Additionally, there were side trips on trading schooners to neighboring and distant islands. There the visitors encountered the islanders.\nMr. and Mrs. Marples looked into other people's homes and participated in their feasts and celebrations. The Marples did not register at one of Papeete's hotels. Instead, they went out of town, fourteen miles, and rented a house that was to be built for them. To a question about whether the house was on the ocean, the answer was returned that all visitors from the more settled parts of the world were given homes on the ocean.\n\nAs for their food, they lived like the natives, largely. Meat was brought out to them twice a week. Food grows luxuriantly the year round. There are three seasons - those of the fei, taro, and breadfruit. These overlap. The Tahitian natives, too, are neighborly. They bring foodstuffs to the door in abundance. Fish are in the market the year around.\n\nSmokes are cheap.\nThe food problem clearly is not one of supply, but of consumption. In the matter of wines and liquors, prices are less than in the United States; in wet goods, the cost is even less than in France.\n\nEditor, American Cinematographer:\nWe are indeed happy to read articles on the \"documentary film\" in your magazine. As advocates of this form of film, we feel too little attention has been given to the documentary film as a vital force in the film world today. Its growing importance in the field of education warrants more discussion on its problems and history.\n\nMr. Schustack has made ample definition of the scope of the documentary film.\nFilm production in the United States began with a documentary center as early as 1932. This center emerged from a group of film and photo clubs called the Film and Photo League. Clubs were located in New York, Chicago, Boston, Washington, Detroit, and Los Angeles. Their program stated that film shorts, either 16mm. or 35mm., could serve a valuable and essential function socially and educationally if they addressed important topics of the day such as unemployment and housing. The films were not newsreels but thoughtful presentations of facts. For instance, a 16mm. film was produced on the waterfront about unemployed men who lived and worked there. The task was not just to make a newsreel record but to delve into and understand what these men did, felt, and thought from dawn to dusk.\nFor several days, scenes were photographed by group members who went to the waterfront as early as 4 a.m. to capture men waking up from their benches to look for work as stevedores on an early ship arrival. The effect of the film is shown by the praise it received from the then film critic of the New York Times, Andre Sennwald, who saw it at a private showing. Other films of similar nature followed and were widely shown in clubs, colleges, and schools. Today, although the Film and Photo League no longer exists, many who are today practicing documentary film received their primary education and instruction and guidance from association with the group. Today, Contemporary Films, as an extension of these groups, is producing documentary films dealing with the little-considered, yet important problems of the consumer. Two of a series of such films.\nFilms have already been produced and received the widest distribution of many documentary films, even playing in the Filmarte Theatre in New York City for twenty-six weeks straight. A third in the series, called the Getting Your Money\u2019s Worth Series, is being planned for early spring production. This series has been praised by Esquire and trade magazines for its novel subject treatment. And, although this is the main work of the company, other projects are on hand. For instance, a film on the life of a dairy farmer and an experimental film in psychology are among them. The persons responsible for the production of \u201cGetting Your Money\u2019s Worth\u201d are Julian Raffman, Robert Del Duca, and Victor Kandel. Harry Kleinman, 1451 Broadway, New York City. Name Witherspoon as Head of Spencer Lens Company. Following the recent annual stockholders meeting.\nThe following officers were elected at the meeting of the Spencer Lens Company, Scientific Instrument Division of the American Optical Company:\n\nH. N. Ott, chairman of the board of directors;\nB. H. Witherspoon, president and general manager;\nH. D. Rhynedance, vice president and general sales manager;\nB. Glenny, treasurer;\nC. W. Barton, secretary and manager of research and development.\n\nUnder Ott's leadership as president since 1919, the company has achieved worldwide recognition. Witherspoon, who has had broad experience in sales, engineering, and research and development, has been active in the management of Spencer Lens Company since 1935, serving as a member of the executive committee and vice president and general manager.\nThe manager of Spencer Lens Company. B&H now lists 365 silent film titles in their catalog. There has been a significant increase in the production of silent films and a trend towards the educational subject is evident in the recent revision and enlargement of Bell & Howell's rental and sale catalog of 16mm. silent films. This catalog now lists 365 silent film titles. Of these, 58 have been added since the last printing, about six months ago.\n\nThe 58 silent film titles added by Bell & Howell in the new silent catalog edition compare with 82 titles added in the new supplement to the Filmosound Library rental catalog, just published, raising the total of titles in the sound library to over 1100, comprising more than 3000 reels.\n\nThere is virtually no new production of silent film dedicated specifically to entertainment. Silent films have gone\nThe talking picture is in demand nowadays for entertainment, whether for school, church, institutional or private use. Owners and users of 16mm projectors can receive free new film catalogs. Mention of the projector make and model and the dealer from whom it was purchased is required. It should be indicated clearly whether the projector is sound or silent.\n\nKalart Publishes New Manual on Speed Flash Photography\nA new 36-page illustrated manual on speed flash photography has been published by the Kalart Company. This is one of the most comprehensive manuals ever published on the subject.\n\nExamples of prize-winning pictures are shown, as well as Synchro-Sunlight, action and sport pictures. Complete exposure charts for distance and various size flashbulbs, including both foil and wire types, are given in this manual.\nmanual.  In  addition  the  charts  contain \nexposure  recommendations  for  all  films. \nThe  manual  is  free  and  may  be  secured \nby  writing  the  Kalart  Company,  915 \nBroadway,  New  York. \nImportant  Ampro  Notice \nEffective  April  10,  to  facilitate  pro\u00ac \nduction  in  the  Ampro  plant,  it  has  been \ndecided  to  drop  the  following  Ampro \nmodels  from  regular  standard  line  of \nequipment  and  notice  is  given  to  Ampro\u2019s \ndealer  organization  and  to  the  trade  that \nthese  models  will  be  excluded  from  the \nmanufacturer-retailer  fair  trade  agree\u00ac \nment  which  has  been  in  effect  since \nAmpro  silent  projectors,  Models  J, \nJS,  K,  KS  and  Ampro  sound-on-film \nprojector,  Model  M. \n226  American  Cinematographer  \u2022 \nKODAK  PUTS  UP  BUILDING \nAND  CUTS  DOWN  PRICES \nspent  on  amateur  photography  in \nthe  United  States.  Sales  in  cameras \nand  photographic  supplies  shattered  all \nrecords  and  the  year  ended  with  a  new \nThe Eastman Kodak Company announced an expansion program to maintain the use of over 18,000,000 cameras in this country. Construction is underway at Rochester on an addition to the largest camera works in the world, with facilities for precision manufacturing and greater production efficiency to cut manufacturing costs. These anticipated savings will be passed along to Mr. and Mrs. Amateur Photographer through lower camera prices, effective March 1. Some prices will see substantial reductions, applying to the newest and most popular 1939 Kodaks. Never before have fine, precision-made Kodaks sold at such low prices. Lower prices apply to the new series of Kodak Bantams and Kodak 35s.\nAnnounced at the end of 1938, price reductions make these cameras accessible to amateur photographers seeking a fine miniature camera with a fast, reliable, color-corrected lens. Photographer Victor Milner, A.S.C. highlights the many features of the new Parmount camera buggy now in use on fourteen studio stages. Interested onlookers include Jackie Cooper and Director Theodore Reed of \"What a Life!\" Milner is filming. The new buggies eliminate the need to carry a dozen or more separate boxes with various camera equipment. Made of dural metal, it weighs less than 25 pounds empty. Tiny pneumatic tires, silent hinges, a folding top, and a fireproof film compartment are among the features.\n\nPhoto by Edward Henderson.\nLens, capable of taking excellent photographs.\nWith Eastman's Kodachrome the full color film, pictures can now be purchased in black and white, but with the lowest prices in the history of the company. Kodaks with fine, sharp, precision-built Kodak f.4.5 Anastigmat lenses can now be purchased as low as $22. Price reductions are not confined to cameras in the higher priced brackets, but go down the line to the Bullet, which is now priced at $2.\n\nMembers of the St. Paul Amateur Moviemakers Club produced the synchronized sound effects for a film of the St. Paul Winter Carnival. A new Eastman plant, an extensive addition to a camera factory already the largest in the world, will appear when completed. Here, the finest precision cameras will be produced by the largest group of American craftsmen ever assembled in the photographic industry.\nThe film was made at their regular meeting by Vice President John Scott. The musical background was made with dual turntables, and the crowd noises were contributed by the eighty persons who attended. Following the sound recording, several films of carnival activities were offered for projection, and two screens were used simultaneously in the club's first attempt at multiple projection. The club meets the first and third Tuesday of each month in the Commode Hotel. Movie fans are welcome at the meetings.\n\nMervin W. Palmer, well-known in the motion picture industry for nearly thirty years, has been appointed service manager of the Bell & Howell Company, New York branch.\n\nMr. Palmer was connected with the old Biograph Studios in New York from 1912 to 1920. For two years he was the manager there.\nThe chief engineer for Paramount Studio at Astoria, LI, has recently been connected with Motion Picture Lighting and Equipment and International Projector Corporations. He is also active in the Society of Motion Picture Engineers.\n\nMay, 1939 \u2022 American Cinematographer 227\n\nLittles' Party Makes a Real Hit in its Tenth Year\n\nOn Friday evening, April 14, Mr. and Mrs. Duncan MacD. Little presented, at the Barbizon-Plaza Theatre in New York City, the tenth of their series of Annual Movie Parties. These parties have been described by a London magazine as the most amazing development of amateur films. And the show was a genuine success from all angles.\n\nThis year, the party was thrown open to the public at large, instead of being restricted to friends and acquaintances of Mr. and Mrs. Little, and tickets, at $1.50 each, were assigned in order.\nApplications were received. In former years, attendance had been by invitation only, and so great had become the demand for invitations that in 1937, it was decided to hold the party in the Salle des Artistes. However, the Salle proved of insufficient size, just as had the ample living room in the Little home. Immediately after the 1937 show, Mr. and Mrs. Little were invited by the Division of Film Study of Columbia University to make their Ninth Party (for 1938) an integral part of the program of \u201cThe Motion Picture Parade\u201d conducted by the University, and they were also invited to arrange an International Amateur Film Show. This was adopted, and the campaign was launched. The two schemes were adopted, and the campaign was launched for the Ninth Party to be part of the University's program and for organizing an International Amateur Film Show.\nThe zine reported last spring about the success of these shows, providing detailed information on the films exhibited. Despite opening the \"Film Study\" doors to the public for both the Ninth Party and the International Show, the Salle des Artistes was once again overcrowded at the Preview for friends and \"regulars.\" Something drastic had to be done. The costs of these annual movie parties had risen to a sum that was more than one person should bear, no matter how willing or anxious that person was to advance the status of Amateur Films. It was decided to try a new method. The public would be asked to support and pay for the show. This would also provide a gauge to estimate whether or not the public was truly interested.\nMr. and Mrs. Little, with no financial desire from their movie activities, requested the Peabody Home for Aged Women trustees to sponsor the Tenth Annual Movie Party and accept any surplus over necessary expenses. The offer was accepted, with the Peabody Home assuming no responsibility or making any effort to sell tickets.\n\nThe New York Herald-Tribune of April 15 provided the following account of the show:\n\nEight outstanding motion pictures, produced by amateur cinematographers in the popular 16-millimeter film size, were shown last night to an audience of 500 persons at the tenth annual \"movie party\" given by Mr. and Mrs. Duncan MacD. Little.\n\nThis year's show, held in the auditorium of the Barbizon-Plaza, Sixth Avenue.\nAvenue and Fifty-eighth Street was conducted as a benefit for the Peabody Home, 1000 Pelham Parkway South, the Bronx, an institution for elderly women. The films selected for projection last night were chosen by an independent jury from twenty-four entries. Films made by amateur photographers in Poland, Japan, Australia, and the Philippines were included in the show. A short documentary film, showing the buildings and some of the activities of the Peabody Home, introduced the regular program. The first item of which was \u201cNation Builders,\u201d filmed by James A. Sherlock, of Sydney, Australia. This carefully produced picture, winner of the grand prize in the 1938 contest of the American Cinematographer, depicted the growth of civilization on the Australian continent since the arrival of the first English explorers, with its industrial plants, modern cities.\nAnd major sheep-raising industry.\n\nGhost Story: \"Ritual of the Dead\" was a ghost-story. An explorer murdered two comrades to get possession of jewels in an ancient tomb, and in the end was haunted to suicide by a mummy of ghastly appearance. Producer Richard H. Lyford, of Glendale, Calif., was nineteen years old when the film was made.\n\n\"Climbing in the Dolomites\" by Christine L. Reid, of Brookline, Mass., showed the methods used by two Alpine guides in scaling a rocky and dangerous peak. The close-ups were remarkable.\n\n\"Ski-Legs\" was the only other film with a dramatic scenario. It was an ingratiating comedy satirizing the fads of skiing.\ncandid camera photography and a cleverly staged ski race. Use the compact, portable B-M Sound-Pro Camera for synchronizing sound and picture on the same negative. For flexibility in various filming steps, use the B-M Model D Double System for separate sound recording, re-taking, re-recording, cutting, and editing. Contact us for sound movie problems and requirements, bulletin No. AC-5.\n\nThe Berndt-Maurer Corp.\n117 East 24th Street, New York, N.Y.\nAmerican Cinematographer\nEngineers' Convention\nAgain Hits High Mark\nHollywood\nThe Society of Motion Picture Engineers held its spring convention in Hollywood this year, as is customary in alterning years. The gatherings were held in the Hollywood Roosevelt, and in accordance with its established custom, the society's sessions were held practically at the announced time \u2013 something at any kind of convention.\n\nApril 17 at 10 o'clock in the morning marked the opening. Until 10:10 in the evening of April 21, the program was unreeled with mathematical or engineering precision.\n\nThe sessions opened at the appointed hour on Monday with a report by W. C. Kunzmann, convention vice president and chairman of the convention committee. It closed Friday evening at 10:10 with a paper on \"Design Problems in Television Systems and Receivers\" by A. B.\nThere were two exhibits that attracted special attention at the new equipment and color stills event. O.O. Ceccarini of Hollywood chaired the color stills exhibit, while J.G. Frayne of Hollywood chaired the equipment exhibit. The equipment show was described as the best one ever held by the engineers. The program included everything having to do with sound as well as photography. Television and 16mm were given unusual time. Two mass visits were made to studios \u2013 to Paramount in the afternoon on Tuesday and to Warners' at noon on Thursday. At Paramount, the host was Loren L. Ryder, director of recording, and the guests were limited to the men and women registered.\nVisitors were limited to 250 people. They were given the opportunity to view projection background shooting and visit stages where special effects and miniature work were carried out. Visits were also made to the sound and dubbing departments, as well as production stages where actual photographing was witnessed.\n\nAt Warner studio, the engineers were guests of Major Nathan Levinson, director of recording. Visits were also made to the wardrobe departments and to the new units of the crafts building. In addition to a general sightseeing tour of the lot, what was of particular interest to the engineers was the opportunity to inspect Fred Gage's laboratory. Luncheon was served at the studio.\n\nIn the color stills, there were thirty exhibitors with a total of 150 prints. There were many examples.\nE. W. Benson, North Hackensack, N.J.\nCharles W. Burgess, Minneapolis, Minn.\nWhiting-Fellows, New York\nPagano, Inc., New York\nPaul A. Hesse studios, New York\nVictor Keppler, New York\nE. L. Letten, Toronto\nGoesta P. G. Ljungdahl studios, New York\nNickolas Muray and Associates, New York\nJames Pickands, II, New Haven\nChester A. Pleadwell, Flint, Mich.\nDefender Photo Supply Company, Inc., Rochester\nShigeta-Wright, Inc., Chicago\nWilliam Stevenson, Cleveland\nWynn Richards, New York\nVan Damm studio, New York\nW. G. Houskeeper, South Orange, N.J.\nWilfred H. Wolfs, New York\nMax Hirsch Jr., Long Island\nPaul Outerbridge Jr., New York\nJames N. Doolittle, Los Angeles\nNicoll-Pratt Corporation, Los Angeles\nR. T. Dooner, Philadelphia\nCharles H. Miller, Chicago\nK. L. Hen-\nPersons: Rochester - Ralph Boyle, Philadelphia; Frank Miller, Everett Moses, Chicago; C.O. Ceccarini, Hollywood; H.I. Williams studio, New York.\n\nNew Equipment Shown\n\nAmong the equipment firms were Mole-Richardson, with new lighting equipment; R.C.A., with the latest in sound equipment; Newmade, with accessories; Lansing, amplifiers and loud speakers, etc.; International Projector, with the latest in sound projection; Erpi, demonstrating newest recording equipment; Eastman, with its new Cine Kodak Special, including reflex finder, image magnifier, optical finder and motor drive. Also shown was the Kodascope, Model G.\n\nMoviola showed its new preview equipment. Norman Neely of Radio Enterprises displayed his equipment for recording and playback. This was given a demonstration the night of the banquet, when without tipping off the guests, a recording was made and shown.\nAt the conclusion of the talks, the following papers were read on 16mm. with sound:\n\n\"The Present Technical Status of 16mm. Sound-on-Film,\" J. A. Maurer, Berndt-Maurer Corporation, New York. (Demonstration.)\n\"A High-Intensity Arc for 16mm. Projection,\" H. H. Strong, Strong Electric Company, Toledo.\n\"New 16mm. Recording Equipment,\" and \"Notes on French 16mm. Equipment,\" D. Canady, Canady Sound Application Company, Cleveland, Ohio.\n\nOn the evening of the final day, the entire time was devoted to television. The following papers were read:\n\n\"An Introduction to Television Production,\" H. R. Lubcke, Don Lee Broadcasting Company, Los Angeles.\nReport of the Television Committee, A. N. Goldsmith, chairman.\n\"Application of Motion Picture Film to Television,\" E. W. Engstrom and G. L. Beers, RCA Manufacturing Company, Camden, N.J.\n\"Continuous Type Film Scanner for Television\"\nTelevision,\u201d  P.  T.  Goldmark,  Columbia \nBroadcasting  Company,  New  York. \n\u201cTelevision  Studio  Technic,\u201d  A.  W. \nProtzman,  National  Broadcasting  Com\u00ac \npany,  New  York. \n\u201cTelevision  Lighting,\u201d  William  C.  Ed\u00ac \ndy,  National  Broadcasting  Company, \nNew  York. \n\u201cDesign  Problems  in  Television  Sys\u00ac \ntems  and  Receivers,\u201d  A.  B.  Dumont, \nAllen  B.  Dumont  Laboratories,  Passaic, \nAmong  the  many  papers  read  were \nthe  following: \nBrief  Review  of  Foreign  Film  Markets \nduring  1938.  Nathan  D.  Golden,  Mo\u00ac \ntion  Picture  Division,  U.  S.  Bureau \nof  Foreign  and  Domestic  Commerce. \nAmerican  motion  pictures  continued  to \n\u2022  American  Cinematographer  229 \nHollywood  Engineer  Designs  New  Type \nof  Meter \n( Continued  from  Page  201 ) \nfleeted  toward  the  positive  plate,  in \nproportion  to  the  current  it  carries. \nWith  two  sets  of  deflecting  plates, \nset  at  right  angles  to  each  other,  the \ndangerously  near  either  the  upper  or \nThe lower limits of the film's latitude, where such a point was, and to correct it. The pattern as a whole should give a quick indication of overall exposure values. The amplifier gain control could be calibrated either in terms of film-speeds or in f-values for a given emulsion speed. It is fortunate that the conventional gain control is calibrated in units following a similar logarithmic progression to that of the familiar f-system.\n\nSpeaking of his invention, Franklin remarks: \"As a result of being able to determine quickly and accurately not only the overall exposure but the contrast relations for each scene photographed, the cinematographer will be able to get constantly the best tone reproduction that the film is capable of rendering from any given scene.\n\n\"While the skill with which modern cinematographers balance light visually\"\nA device like this should nevertheless be helpful, as it informs one at a glance if any portion of his lighting is above or below the limits of his film's latitude and precisely where that spot is. Such a device should also go far toward eliminating the need for laboratory corrective manipulations of under or over developing the negative or printing the positive up or down, with their attendant losses in undistorted tone reproduction. The Multiscope meter will enable the cinematographer to ascertain contrast relations between people and background, to know the light levels of all portions of the scene, to determine more accurately how colors reproduce in monochrome (some shades still can fool even the trained eye), and to determine the amount of correction needed.\n\"This instrument eliminates or greatly reduces uncertainties in making infra-red exposures for filtered night-effect scenes. It accurately determines exposure and contrast relations in terms of film response, minimizing errors on set and in the laboratory for a more consistent negative, which can be processed by more consistent methods. Eliminating or reducing the need for tests in the laboratory or hand tests on location or set. The Multiscope meter\"\n\"It cannot be used to balance the light for the cinematographer nor force him to work according to formula. However, it will leave his artistic talents a freer scope, with fewer technical worries since it shows clearly and quickly anything that throws the lighting of any portion of the scene beyond the safe tolerances of the film used. It will eliminate a lot of guesswork and routine worry, making it possible to obtain higher artistic achievements since the photographer need trouble himself less about routine drudgery.\n\nArt Reeves\n- Automatic Developing Machine\n- Sensitester\n- Variable Density Sound System\n- Variable Area Sound System\n\nMotion Picture Equipment\nStudio and Laboratory Tested Since 1929\n- Single System\n- Re-recording System\n- Microphone Boom\n- Reeves Lites\n- Sound Accessories\n- Laboratory Accessories\n\nArt Reeves\"\nAgfa Ansco adds f4.5 to its new Memo camera line\n7512 Santa Monica Blvd., Hollywood, California, U.S.A.\nAmerican Cinematographer, May 1939\n\nAgfa Ansco introduces a second model of its new 35mm miniature camera. This latest addition to Agfa Ansco Corporation's camera line in Binghampton, NY, is equipped with an f4.5 lens and retails for $25. The first model of the new Memo camera, listed at $35, has an f3.5 lens. In all other respects, the more recent f4.5 Memo is identical to its counterpart, offering 24 pictures, 1-7/16 by 15/16 inches, on each cartridge of film. It provides the same simplified loading and sliding bar mechanism.\nthat advances the film in one rapid motion and eliminates window-watching. Also retained on the f4.5 model are the 1/2 to 1/200 second shutter, automatic exposure counter, depth of field scale, brilliant, direct viewfinder, neckcord and eyelets, accessory clip, tripod socket, pressed steel frame, and other construction features.\n\nLet's Edit a Travel Film (Continued from Page 208)\n\nA few midget trees and miniature reindeer were stuck in the ground, along with a toy Eskimo whose size was proportionate to the other props.\n\nThe house was set off at one side, leaving a wide expanse of white for filming. The whole set was sprinkled with packaged store snow.\n\nWith three No. 2 photofloods placed in reflectors about three feet away, the camera was loaded with indoor Kodak film.\nShooting down at an angle, we faded in on the igloo and Eskimo, panning slowly to the left and stopping on the snowy expanse. One by one, the West Indies and steamship folders fell slowly into the snow within camera range.\n\nNext is a shot of the Eskimo and igloo, but snow has begun to fall and it looks like a blizzard in the offing. This is faked by permitting store snow to dribble down through the fingers, breathed-on lightly. The circulars are now snowed under completely.\n\nInvert the Camera\n\nTo give the effect of snow evaporating or melting away, it would only be necessary to invert the camera and sprinkle the folders until they were covered.\n\nAfter the reel is processed, simply cut out the sequence, reverse it end for end, and there is your snow scene with the snow magically rising up toward the camera.\ncamera lens until it exposes clearly the top circular, which, in this case, was a close-up of the \"Hiawatha.\" Follow this with the long shot of the real train steaming away at the station, and there is your introduction.\n\nTo simplify matters in our case, instead of inverting the camera we inverted the folders, shooting normally.\n\nTo bridge the cross-country gap between the northerly station scene and the southerly steamboat close-up, a color shot of the huge drivers was made during a scheduled departure. As the train picks up speed, the windows zoom by, and you fade out as the streamliner races off in the distance.\n\nThis helped continuity, but, to add further smoothness, an over-the-shoulder shot of a United States map is revealed (presumably opened inside the train), and a heavy crayon pencil, starting at Minneapolis, begins tracing its way down.\nWard the course until Miami is reached. This is followed by the bow of the boat and the whistle, and our worries are alleviated. I mentioned earlier that I thought I overheard Dan Billman, Jr. talking about running off to Tahiti on his next filming venture.\n\nPRICES\nReduced on\nReg. U.S. Pat. Off.\n\nSCREENS\nYour First Choice in Screens\nNow Costs Less than Ever\n\nGreatly increased demand for Da-Lite Screens makes possible new low prices that further emphasize the superior value of Da-Lite equipment.\n\nCHECK THESE TYPICAL VALUES IN DA-LITE 30\" x 40\" SCREENS\nJunior $50\nChallenger\nAmerica's Favorite Portable Screen (illustrated above) Now ONLY $119.50\nHanging Screen Now Only $\n\n* Prices slightly higher in Pacific Coast States and in Canada.\n\nCompare quality and results.\nReg. U.S. Pat. Off.\n\nWrite for new illustrated \u201cJS THE BUY\u201d\nLiterature and Da-Lite dealer information:\n\nDa-Lite Screen Co., Inc.\nEnjoy widespread popularity throughout the world in 1938, although the intensification of difficulties abroad resulted in a drop of 70 to 65 percent in America\u2019s domination of the world's motion picture screens. The obstacles encountered were of diverse character, including legislative restrictions, quota systems, high taxes, foreign-exchange controls, occasional excessive censorship, so-called \"racial\" theories, fervent efforts to build up local film industries, active hostilities in the Far East and Spain, transfers of territories, and intangible factors such as uncertainty and apprehension. Spanish-dialog films scored notable box-office successes in nearly all countries.\nEvery Latin American country where locally produced pictures have been shown exerts a powerful appeal because they portray familiar aspects of life in a language understood by audiences. On the contrary, evidence from recent productions in certain foreign countries demonstrates the grave defects and difficulties of motion picture production on insufficient foundations.\n\nAn Instrument for the Absolute Measurement of Graininess in Photographic Emulsions. A. Goetz, W. O. Gould, A. Dember, California Institute of Technology, Pasadena, CA.\n\nSimplifying and Controlling Film Travel through a Developing Machine. J. F. Van Leuven, Fonda Machinery Company, Los Angeles.\n\nA developing machine is described in which the film's drive is frictional, and the film-carrying rollers are driven.\nThe first driving roller is slightly smaller in diameter than all succeeding driving rollers, creating tension on the film throughout the machine. The upper shaft of film-carrying rollers is held in peripheral engagement with driving rollers by adjustable springs. These springs have a yieldable downward mounting, allowing excess film tension to draw film-carrying rollers away from driving rollers until the excess tension is relieved. Film-carrying rollers are then drawn upward by the springs to contact driving rollers again. Driving rollers are directly over upper film-carrying rollers. The driving mechanism is completely above tanks and solutions, and all film-carrying rollers in the wet end are mounted individually and freely.\nAll rollers, film-carrying ones included, are mounted on free-turning tubing or shafting. Film-carrying rollers in the dry box, in addition to being mounted on Arguto bushings and individually free, are mounted on tubing that in turn is mounted with grease-seal ball-bearings on shafting. The entire unit is free to rotate or slide laterally on the shaft, thus becoming self-aligning.\n\nTo meet the high initial and maintenance cost of ball-bearings in film-carrying spools, 7-inch film-carrying rollers are used throughout.\n\nFilm enters the machine in a steady, constant flow. Tension can be altered by the operator and, when regulated by adjustment of springs, remains virtually constant throughout the machine. The steady flow makes great speed possible yet retains a high factor of safety.\n\nThe machine has the following attributes: great simplicity; entire freedom from restriction in movement.\nFrom precision maintenance; film is always under even adjusted control and does not slip on rollers. Breakage from mechanical causes is practically eliminated.\n\nA High-Intensity Arc for 16 mm. Projection. H.H. Strong, Strong Electric Co., Toledo, Ohio.\n\nA short description of a high-intensity reflector type projection arc lamp and associated rectifier equipment, designed as a light-source for 16 mm. projectors.\n\nThe Status of Lens Making in America.\nW.B. Rayton, Bausch & Lomb Optical Manufacturing Company, Rochester, NY.\n\nWhen the modern optical industry was born, this country was predominantly agricultural. Its principal industrial developments related to transportation. It was natural, therefore, that Europe should have gained great prestige in the field of optics in the final quarter of the nineteenth century.\n\nWith the turn of the century, however, the situation began to change. America's industrial growth accelerated, and its industries, including optics, began to challenge European dominance. By the beginning of the twentieth century, American firms were producing high-quality lenses that could compete with those of Europe. The optical industry in America was no longer a mere imitator but a leader in innovation and technology.\nagricultural developments had reached their limit and industrial activity began to occupy a larger place in American life. Along with others, the optical industry felt the incentive to greater activity. The first fifteen years of this century saw a rapid advance in the Eastern headquarters for the cameramen: Bell S. Huvpauk, acting room equlpm, opticianians; Bell E. net, studio & cutting rooms; airrrfightghts; L Pic, camera supply company, Hollywood; Art Reeves, 1515 North Cahuenga Boulevard, Cable Address \u2014 Cameras, California; Efficient-Courteous Service, New and Used Equipment; Gordon Bennett \u2014 Manager, Bought \u2014 Sold \u2014 Rented, Everything Photographic, Professional and Amateur; Motiom Picture camera Supply, 723 Seventh ave. NEW YORK.N.Y; Bryant 9 '7754 J. Burgi Conter CINECAMERA. Magnitude of the industry and improve.\nWe were still dependent on European sources for the quality of our optical glass and some laboratory instruments. However, the war cut off all aid from Europe and ultimately led Europe to our doors with appeals for optical munitions. The war hastened what would have been inevitable anyway - the complete independence of America in optical matters. The American optical industry has now reached a point where its raw materials (optical glass) and technical skill recognize no superiors. It can make any practical optical element or instrument for which quantitative specifications can be written.\n\nNote: French 16 mm. Equipment.\nD. R. Canady, Canady Sound Appliance Company, Cleveland, Ohio.\n\nA brief resume of French substandard equipment.\nprojection equipment of unusual design, including a practical application of the new water-cooled mercury vapor lamp to 16 mm. projectors. Mention is made of an interesting projector that employs no sprockets, automatically adjusts the size of the loops, and reduces film wear to a minimum.\n\nNew 16 mm. Recording Equipment. D. R. Canady, Canady Sound Appliance Co., Cleveland, Ohio.\n\nA description of new 16 mm. equipment, including recorder, film-phonograph, and a new 35 mm. to 16 mm. reduction printer.\n\nThe Present Technical Status of 16 mm. Sound-on-Film. J. A. Maurer, Berndt-Maurer Corp., New York, NY.\n\nImprovements in the technic of recording and printing during the past few years have made possible the production of 16 mm. sound-films, either by optical reduction or by direct recording, having excellent sound quality.\nThe report obtained from 16 mm. negative prints is considerably better in quality than what is obtained in general commercial practice. By using a moderate degree of equalization in recording, it is practicable to obtain a flat frequency response to 6000 cycles, with useful response to 7500 cycles, when reproduced through a flat amplifying system. Harmonic and envelope distortion, as well as speed variations, can be kept within acceptable limits for high-quality reproduction. The principal remaining defect is background noise. However, some general agreement upon commercial 16 mm. reproducing system characteristics is needed before this improved quality can be made generally available.\n\nReport of the Television Committee.\nA. N. Goldsmith, chairman.\n\nPartial reports by the two sub-committees:\n(A) on Television Production and Reproduction Technique, O. B. Hanson,\nChairman and B. Sandvik, Chairman, Film Properties and Laboratory Practice. The scopes of activity of the subcommittees are described, and their program for the coming year. Among the items covered by these scopes are: 1. glossary, 2. bibliography, 3. tutorial material, 4. dimensional practices, 5. normal equipment and procedure, 6. special problems such as inter-industry coordination, future equipment needs and specifications, etc.\n\nA Continuous Type Television Film Scanner. Peter C. Goldmark, Columbia Broadcasting System, New York.\nA motion picture film scanner, the first of the continuous type to be used for television transmissions, is described. The apparatus was put into operation in New York City in the summer of 1937 and has been in use since.\n\nReport of the Studio Lighting Committee. C. W. Handley, Chairman.\nAn explanation is given of lighting techniques and equipment used in film and television production.\nproblems from the viewpoint of the cinematographer. Certain advances in equipment and working tools remain obscure for a long period before they find their rightful places in motion picture set lighting because they seem to interfere with dramatic effect. If they possess merit, however, they are gradually adapted to general use.\n\nA typical example is the light-meter. Motion Picture Film Developing Machinery. A NEW DRIVING PRINCIPLE. NO SPROCKETS. NO ELEVATORS. T. COMPLETE WITH TEMPERATURE CONTROL FOR DEVELOPER, DEVELOPER AGITATION AND SPRAY. SIMPLE IN DESIGN. COSTS 50% LESS TO OPERATE. We manufacture developing machines only. Fonda Machinery Company. 8928 Santa Monica Blvd. Los Angeles, CA. Cable Address \u201cFonda\u201d. May, 1939. American Cinematographer 233.\n\nwhich is now going through the final stages of assimilation to studio lighting. New fast films have been introduced.\nThe use of these new lighting techniques is bringing about significant changes, which are currently being perfected. Recent advancements in lighting equipment are described, including three new higher-speed negative films for the Technicolor process. The impact of these new films on Technicolor set lighting is explained. Methods of using and coordinating photoelectric exposure meters at 20th Century-Fox Studios are discussed. D.B. Clark, Twentieth Century-Fox Studios, Hollywood, CA\n\nConsistency in negative printing values is a crucial factor in modern cinematography. Photoelectric light-measuring devices enable the cinematographer to maintain such consistency to a much greater extent than otherwise possible.\n\nTests and actual production have demonstrated that with the correct use of these instruments, the entire output of the studio's camera staff can be coordinated.\nTo coordinate printing of all negatives, disregarding photographic conditions on the set, several requirements must be recognized. A dominant demand for photocell meters of unfailing consistency is necessary. These meters should not be subject to error from photocell fatigue, changes in humidity or temperature, and the like. They must give uniform readings for all studio meters under any given conditions.\n\nWhile these requirements are not fully met in existing meters, they can still be utilized. Coordination is achieved through use of a special, portable testing unit of the photometer type. In this unit, a photocell is calibrated against a standard light source, and the resulting reading is then compared to the meter's reading under the same conditions. Adjustments are made to the printer lights accordingly.\nA standard light-source is used in a circuit with a battery and milliammeter, controlled by a rheostat. The light is brought to known intensities by applying known currents. The photo-cell meter being tested must accurately give predetermined readings. Further logical developments include complete acceptance of strict time-and-temperature methods of negative development and some form of automatic, photoelectric-cell-controlled print-timing. This would remove all variables, including human fallibility, from the processing problem, leaving the responsibility for results solely in the hands of the cinematographer, who would in turn be guided by his meter within the tolerances imposed by film and processing.\nThe 20th Century Silent Camera. G. Laube, Twentieth Century-Fox Film Corporation, Hollywood, Cal.\n\nThe camera operates without any sound-proofing box or blimp. It weighs sixty pounds and is claimed to be the first instrument of its kind to function without the inconvenience of sound-proofing inclosures.\n\nA microscope viewing finder is built into the camera and is brought into position back of the photographing lens by rotating the camera case, which is mounted in a yoke.\n\nThe monitor view-finder is rigidly secured to the side of the camera and does not pivot or swing. However, the image produced by it truly conforms to the image being photographed on the film. This feature enables the operator to work with the complete assurance of seeing exactly what is being recorded on the film and without having to guess.\n\nTwentieth Century Silent Camera. G. Laube, Twentieth Century-Fox Film Corporation, Hollywood, CA\n\nThe camera functions without a sound-proofing box or blimp. It weighs sixty pounds, making it the first of its kind to operate without the need for sound-proofing enclosures.\n\nA microscope viewing finder is integrated into the camera and can be positioned behind the photographing lens by rotating the camera case, which is mounted in a yoke.\n\nThe monitor view-finder is firmly attached to the side of the camera and does not move or pivot. The image it displays accurately represents the image being captured on film. This feature allows the operator to confidently view the exact image being recorded.\nThe camera derives its driving power from a motor mounted on the back of the yoke member and drives directly to the shutter. Synchronous or AC interlock motors may be used and driven at shutter speed. This type of drive ensures an even and undisturbed rotating motion of the shutter.\n\nThe film-moving mechanism, or the so-called camera movement, embodies elements of absolute precision and locates each frame of the picture with registering pins that remain stationary during exposure. The film is moved from frame to frame at a slower speed than with former cameras and with uniform acceleration, overcoming film damage and loop slap.\n\nThe dwell time, or the period when the film is standing still and receiving exposure, is long and allows for excellent image quality.\nThe camera offers a 200-degree shutter and features superior definition and freedom from defects. Convenient functions include synchronization with projection processes through a special aperture and a knob at the back. The camera loads easily on low or high set-ups, providing an unobstructed view for the operator when lining up. All parts are sealed from sand, dirt, and water. The camera turret mounts four lenses and allows for quick change. The freehead is a new hydraulic type with adjustable drag on both pan and tilt members.\n\nEverything Photographic for Professional and Amateur\nThe World's Largest Variety of Cameras and Projectors. Studio and Equipment.\nLaboratory Equipment with Latest Improvements as Used in the Hollywood Studios. New and Used.\nSend for Bargain Catalogue\nHollywood Camera Exchange\n1600 Cahuenga Boulevard\nHO 3651, Hollywood, California Cable: Hocamex\n\nThe New Edition\nRight off the press\nwith all the answers\nMovies or Still\nProfessional or Amateur\n35mm., 16mm., 8mm. motion pictures, tables and charts for Cine cameras, film, filters, lenses, angles, miniature cameras, lights, calculators, color systems, exposure meters, timers, projection, developers, toners, etc., over 200 pages of essential material.\nThe Best Hand Book\nOf Its Kind Ever Published\nSend for descriptive circular.\nJackson J. Rose, A.S.C.\n1165 North Berendo St. Hollywood, California\nAmerican Cinematographer \u2022 May, 1939\nAnnually to a vernal ebullience, Jack and his girlfriend Judy, along with Judy's roommate Mable and her boyfriend Jim, would head to the mountains to work off their spring excitement. Judy and Jack were both smitten with the season. Mable, Judy's roommate, joined the hiking party but did so with less enthusiasm and considerable misgiving. Jim, Mable's boyfriend, teased her about her lack of enthusiasm but loved her just the same. He, too, was susceptible to spring fever. Other youthful couples, depending on the number of cast members available, would also join in, provided they had the necessary wardrobe and equipment.\n\nProperties:\n- Hiking outfits for the entire cast, including knapsacks, first aid kits, and other accouterments.\n- One or more cars, preferably one large open model.\n\nScene 1 (Fade-in) (Interior-Medium)\n--- Judy and Mable's shared bedroom. Both are in their lingerie, preparing for their hike.\nScene 2 (Exterior long). Street in front of Judy and Mable's house or apartment house. A car rolls up to the curb and stops, preferably a large, open car. In it are Jack Wilson and Jim Stephens, garbed in outing or hiking clothes. Whether they arrive in their own separate cars is optional. As the car rolls to a stop, the driver leans heavily and repeatedly on the horn button.\nScene 3 (Close-up). Driver pushing and repushing horn button.\n\nScene 4 (Interior, medium). The two girls' boudoir. They are nearly dressed. Both girls hear the horn simultaneously.\n\nJudy runs enthusiastically to the window and waves. Mable makes a grimace.\n\nScene 4 (Close-up). Judy at window. She raises it and, leaning out, motions to the two boys to come on up.\n\nScene 5 (Long). Over Judy's shoulder, the boys hastily and enthusiastically climb out of the car and hurry toward the front door.\n\nScene 6 (Medium). Judy crosses from window to door, which she opens and stands waiting for the boys. Mable, still bored and listless, with a slight martyr-like expression (she's a self-admitted \"good sport\"), is putting on some finishing touches.\n\nScene 7 (Same as scene 6). Jack and Jim enter. Jack embraces and kisses Judy.\nJudy stands in the doorway. Jim crosses and embraces Mable. For one brief moment, Mable's face lights up with keen interest as Jim approaches her for his embrace and kiss.\n\nScene 8 (Close-up): Jack and Judy kissing. They are very much in love in a reckless, healthy, athletic, spontaneous, exuberant manner.\n\nScene 9 (Close-up): Jim and Mable kissing. For the brief instant of her receiving Jim, and as she reciprocates his fervid kisses with equally torrid osculations, does Mable's face reveal any interest. This interest seems extreme in direct contrast to her utter lack of interest in everything else. She is a very serious sort of person for which Jim loves her very much. While Jack and Judy are peas in a pod, so far as personalities are concerned, Jim and Mable are \"opposite\"\nBoth couples get along extremely well, which upsets lots of psychological theories. However, as soon as Mable leaves Jim's embrace, she lapses back into her listless and bored attitude about the hike or outing. To her, it's a waste of time.\n\nScene 10 (Medium). The two couples, Landers & Trissel,\n- RENTALS - SERVICE -\nMOTION PICTURE CAMERAS - BLIMPS - DOLLIES - CAMERA CRANE\nAND ALL ACCESSORIES\n\nPHONE\n6313 Sunset Boulevard\nNear Vine Street\nHollywood, California\n\nNight\n\nLanders HE-1311\nTrissel - Sunset 25992\n\nFast film or slow, there is a Solarspot for every lighting need.\n\nMole-Richardson Co.\n841 No. Sycamore Ave., Hollywood, California\n\nCables: \"Morricone\"\n\nMay, 1939 \u2022 American Cinematographer 235\n\nThey break away from their clinches and gather up the things they are taking with them. There is much hustle and bustle. Finally, laden with blankets, they depart.\nScene 11 (Long). Through windows in the girls' room, they exit and pile the baskets, lunch baskets, thermos bottles, etc., into the car and board it, preparing to drive off. If there are others, the whole caravan is preparing likewise.\n\nScene 12 (Exterior, medium). Down in the street as the car (or last car in the caravan) is about to drive off amid much noise and gaiety. As the car (or last car in the caravan) drives away into the distance (Fade-out).\n\nScene 13 (Fade-in, exterior). Atmospheric shots of sky, clouds, trees, mountains, or other landscapes to establish mood. These types of shots, including others of wildlife: animals, birds, flowers, etc., may be cut-in throughout the picture.\n\nScene 14 (Medium). Car (or caravan) arrives at destination. It\u2019s either the base of a mountain, or a comparative molehill, depending on the locale of the scene.\ncinemakers. Wherever the hiking party has arrived, they disembark and assemble packs, knapsacks, hiking staves, etc. One of the boys enthusiastically leads the way with impractical haste. The rest follow.\n\nScene 15 (Long). The file of hikers wending their way up a trail, Jim and Mable bringing up the rear. Mable cautiously and slowly takes her own sweet time with every step. (Tilt the camera for a sky or tree-top shot.) (Fade-out.)\n\nScene 15 (Medium). Jack and Judy climbing over a somewhat precarious spot. Judy slips and throws out an arm to save herself. She falls on the arm and yells with pain as she falls. Jack is instantly at her side and helping her back on her feet.\n\nScene 16 (close-up). Judy prone. Jack helping her up.\n\nScene 17 (Medium). Jack supporting Judy as the others gather around. She is...\nHer wrist and elbow have been badly hurt. Under the officious handling of Jack and Jim, they decide that no bones are broken. But when Judy explains that the arm is more comfortable in an akimbo position in front of her, because her elbow hurts worse than her wrist, they fix a sling from a huge kerchief for her. The hike proceeds.\n\nScene 18 (Medium). They have come to a fork in trails. One is an easy way, which is obvious from the looks of the trail. The other is more difficult, which is also obvious. Undaunted, they all want to go the difficult way \u2013 all except Mable, who protests in her best lazy, unenthusiastic, Calamity Jane manner.\n\nScene 19 (Closeup). Mable protesting.\nbut after much argument and a kiss or two from Jim, she finally acquiesces.\nScene 20 (Medium). All resume the hike up the difficult trail. Despite the dissension, all is serene in the sky and treetops.\nFaxon Dean Inc.\nCameras\nBlimps-Dollies For Rent\n4516 Sunset Boulevard\nCooke Cine Lenses\nCooke lenses will give you crisp, extremely sharp definition throughout the entire spectrum.\nEnvisioning future demands, Cooke lenses have always surpassed current requirements.\nFocal lengths for every need.\nWrite for descriptive literature.\nBell & Howell Co.\nExclusive World Distributors of Taylor-Hobson Cooke Cine Lenses\n1848 Larchmont Avenue, Chicago\nNew York: 30 Rockefeller Plaza\nHollywood: 716 N. LaBrea Ave.\nLondon: 13-14 Great Castle St.\nScene 21 (Medium). They come to a difficult crossing place. Jack straddles the spot to aid the girls in crossing.\nThey give special attention to Judy, whose arm is in a sling. Judy, in crossing, throws her weight wrong, causing Jack to lose balance and fall with Judy on top of him, cushioning her fall. Others gather around and help them up. Judy is unhurt this second time, but Jack has a bad rent in his breeches at the knee. Jack insists he's not hurt but walks with a definite painful limp throughout the rest of the picture. There is beautiful scenery at this point, which they all stop to enjoy \u2013 the injured feign an enjoyment as sincerely as possible. (Cut-in shots of scenery.)\n\nScene 22 (Medium). They come to a desirable spot for lunch and rest. (The lunch is optional). If there are many in the party, something happens to all of them, except Mable, who, although continually protesting, escapes all mishaps whatever. During the lunch.\nIn scenes, at the director's discretion, one can injure oneself opening a can or a bottle neck breaks off when attempting to remove the top, or a finger is hit driving a nail, or a hatchet inflicts superficial damage while one is cutting wood, or an insect stings or bites one, etc. In most instances, overeagerness or overenthusiasm is to blame for each accident. This overeagerness and overenthusiasm must be adequately portrayed in each scene narrating each accident; for each minor but painful accident probably would not happen in the normal environment of one\u2019s home kitchen. But today, each member of the outing\u2014except Mable, of course\u2014is overwhelmed by the breath of spring and its various causations, and they all get into trouble. After each troublesome scene, it might be wise to show that all trouble exists only among them.\nScene 23 (Medium). On the return trip, they must cross a brook, or marsh, or swamp, and Jim falls in, drenching himself to the waist. He's in such an enthusiastic hurry (nothing's happened to him so far - he's the last, except Mable of course), he loses his footing and in he goes.\n\nScene 24 (Medium). They all help drag Jim out as best they can with their various injuries hampering them more or less. They unanimously decide to use 8mm BULK FILM, j 6mm, non halation Weston 8. Fine grain, semi-othro. Can be used in any straight or double 8mm camera. 200 ft. 8mm in double 8mm width, $1.75. For titles, negatives, reversal, positives. Laboratory packed. Formulas included. Write for catalog on bulk film. 8mm, 16mm, 35mm. Hollywoodland Studios South Gate ' California.\nThey must hurry back to the cars and get Jim out of his wet clothes. They begin their scramble down the mountain (Fade-out).\n\nScene 25 (Medium) (Fade-in). They are at the cars. Jim enters from behind some bushes carrying his wet clothes and a blanket wrapped around him from waist down. He is barefooted, and as he walks, an occasionally bare leg is revealed through an opening in the blanket. He gets into the car, and Mable wraps another blanket around his bare legs and feet. Mable, the only one uninjured, helps them, one by one, into the cars. (Insert a close-up of each one as she does so, revealing the individual injuries, for all of which her sympathy in sincerely aiding them is augmented by sarcastic expressions on her face for each one as she tenderly assists them.)\nInto their seats or otherwise takes care of them. Her touch is kind and gentle, but her look is one of contempt and scorn. It's her big scene. Until now, they've all been belittling her.\n\nScene 26. (Medium)\nFinally, they are all in the car or cars. Mable is at the wheel of the big open one. It's an unhappy crowd that winds its way homeward as we (Fade-out)\n\nMr. and Mrs. Marple\nFilm: South Seas\n\n(Continued from Page 225)\n\nThe harbor of Papeete is the distributing point for the 110 islands constituting French Oceania, scattered over a million square miles of the Pacific. Its famous market catering to the needs of the seven thousand persons who compose the town is open from 5 a.m. until 7 a.m. - two hours. There are no means of refrigeration, and it is necessary to dodge the hot sun.\n\nStriking pictures are shown of an\nThe island is 350 miles out of Papeete, an island of three thousand acres and 300 feet high. Four hundred people live here. Departure is taken before dark sets in. In the afternoon, Tubuai island is sighted. It was to this island that the Bounty mutineers first took their craft and where they first had to dig trenches to defend themselves against hostile natives.\n\nRarely interesting is the picture presented by the Marples of the feast provided for the natives in honor of a visiting French warship, the Jean de Arc. A long hut has been specially built to protect the guests.\n\nIsland of Movila, Tubuai\nThe Bounty mutineers first took their craft here and had to dig trenches for self-defense against hostile natives.\n\nGeo. W. Colburn Laboratory, Special Motion Picture Printing\n1197 Merchandise Mart, Chicago\n\nIllustrated Literature on request\nMovola Co.\n1451 Gordon St. Hollywood, Calif.\n\nEnlarged 16 Re?oed 8\n\nGeo. W. Colburn Laboratory\nSpecial Motion Picture Printing\nEffects of the sun. Many native foods are fried.\n\nFried Camera Co.\n6154 Santa Monica Blvd.\nHollywood, CA\nCable Address: FR1EDCAMCO\n\nDeveloping Machines: Printers, Lite Testing Machines\n\nGoerz\nKino-Hypar Lenses\nCapJtWxsL yiaJtuMA. (Iwakswim in, all\nHa, 'CjllAWJUA, foltfldu on Kodachrome, Dufaycolor and other color films.\n\nThe high chromatic correction of these lenses will yield results which will be a revelation to you and your friends.\n\nClear-cut images, undistorted, of microscopic definition and wonderful, crisp brilliance.\n\nFocal lengths 15 mm. to 100 mm \u2014 can be fitted in suitable focusing mounts to Amateur and Professional Movie Cameras.\n\nGoerz Reflex Focuser\n\u2014 Patented \u2014\nA boon to 16 mm. Movie Camera users \u2014 eliminates parallax between finder and lens \u2014 provides full-size ground-glass image magnified 10 times.\nAdaptable for Lenses 3\" and up, also useful as Extension Tube for shorter focus lenses for close-ups. Extensively used in shooting surgical operations, small animal life, etc.\n\nAddress: Department AC.5\nC.P.GOERZ AMERICAN OPTICAL CO.\nAmerican Lens Makers Since 1899\n\nExtensively used in shooting surgical operations, small animal life, etc. Adaptable for Lenses 3\" and up. Also useful as Extension Tube for shorter focus lenses for close-ups.\n\nDepartment AC.5, C.P.GOERZ AMERICAN OPTICAL CO.\nAmerican Lens Makers Since 1899\n\nCooked in Polynesian style on hot stoves. There are fei (mountain plantain); wrapped in banana leaves are pig, chicken and poi. These are then covered with sand and cooked several hours. So carefully is the food packed that no sand remains on the food.\n\nFarewell Feast\n\nOn the screen we see gradually rise the home that is built for the occupancy of the visitors. We see coconut converted to copra. The manufacture of charcoal, though in lessening volume, is shown. The men bring in from the mountains great bunches of fei, one of the staple foods, weighing 250 or 300 pounds.\n\nWhen the Marples family announces...\nThe natives prepare a farewell feast as our departure approaches. Wrapped in banana leaves are pig, chicken, breadfruit, taro, fish, fei, and poi. The entire meal is then covered with banana leaves and sand. Two hours later, the dinner is ready. The record concludes:\n\n\". . . And so we will leave these happy people to the glory of enshrouded peaks, of tumbling cascades and violet sunshot gorges, which have lost nothing of their old-time enchantment, for such things partake of the eternal and are impervious to the ravages of time and the encroachment of Western civilization.\n\n\"Our journey, which will remain to us a fadeless memory, is ended.\"\n\nMr. and Mrs. Marples hold the South Seas in the front of their memories and are planning this fall to make a trip from New York to Florida through the interior passes.\nA destination they are studying is Mexico, 1500 miles away and taking two or three months to cover. Another is the American Cinematographer's announcement of a second price revision for Da-Lite screens. The Da-Lite Junior Screens, which cost between $3 and $8 in 1936, now range from $2 to $5, except in Pacific Coast States where prices are slightly higher. The standard Challenger screen, consisting of a roller-mounted screen in a metal case with a tripod permanently and pivotally attached, can now be had for as low as $12. This compares to a price of $20 for the same size screen in 1936. The Model B hanging screens have also been reduced in price, the larger sizes being the most significantly reduced.\nReductions occurring in larger sizes. The 63 by 84 inch, which was $45 in 1936, is now $37.50. The larger square size of Model B has also been considerably reduced. The 60 by 60 inch, which three years ago cost $28, can now be had for $23.\n\nDa-Lite, for thirty years, has consistently improved the quality of its products and has always been alert to industry innovations.\n\nThrough the cooperation of the local Eastman Stores, we had the opportunity of seeing the new Eastman film entitled \u201cHighlights and Shadows.\u201d It is a sound motion picture that brilliantly dramatizes the story of photography.\n\nFollowing the meeting, editing of members' films was given, as practical, with splicers and rewinds provided.\n\nAt the preceding meeting, members approved changing the constitution.\nWe are increasing our membership limit to 100 regular members. Our new membership limit is expected to be reached and maintained.\n\nHorace Wilson,\nSecretary-Treasurer.\n\nRCA Announces Two Electric Carillons\nTwo new low-cost electric carillon systems have been announced by the RCA Manufacturing Company. One is an instrument that rivals the music of a carillon of twenty-six giant bells, and the other is a five-note Westminster chime.\n\nDesigned to replace costly, space-consuming bell carillons used in churches, schools, banks, public buildings, and other similar institutions, the new electric carillons are compact and easily operated. They may be installed by connection with any public address system or electric organ amplifying unit.\n\nThe RCA Manufacturing Company introduces new features that would bring greater efficiency, more convenient operation, and longer service.\n\nDa-Lite Screens are used in prominent installations.\nTheaters throughout the country feature Da-Lite's splendid reflective screens, a result of long experience in creating screens for theaters, schools, industrial users, and amateur cinematographers. The growing interest of still photographers in projecting their miniature pictures, especially Kodachrome transparencies, has led to a substantial increase in demand for projection screens. Experienced photographers are increasingly critical of the quality of their projected images, leading more of them to turn to Da-Lite. Prices on most Da-Lite Screen sizes will be reduced starting May 1. This is the second price reduction in the last three years due to higher freight rates to Pacific regions.\nFor sale:\nWALL REBUILT Bell & Howell Single system sound camera: quartz slit, 12 volts motor, 3 lenses, 2 - 1000 ft magazines, finder, sunshade, amplifier, W.E. dynamic microphone.\nMotion Picture Camera Supply, Inc.\n723 Seventh Avenue, New York City\nCable Address: Cinecamera\nThe World's Largest Variety Of Studio and Laboratory equipment with latest improvements as used in Hollywood at tremendous savings. New and Used. Mitchell, Bell-Howell, Akeley, De Brie, Eyemo, animation process cameras, lenses, color magazines, adapters, lighting equipment, silencing blimps, dollies, printers, splicers, moviolas, motors, light-testers.\ngear boxes, synchronizers. Guaranteed optically and mechanically perfect. Send for bargain catalog.\n\nHollywood Camera Exchange\n1600 Cahuenga Blvd., Hollywood, Calif.\nCable : Hocamex\nTwenty 400 FT. Bell and Howell magazines. Good condition. Ten dollars each.\nNelson Edwards\n111 W. Lexington Street, Baltimore, Maryland\nNew Precision Test Reel for projection and Sound. Developed by prominent SMPE member. Combination visual, sound tests for all soundtrack adjustments. Indicates travel ghost, sidesway, picture jump, etc. Contains visual targets and constant level frequencies. W. E. Mirrophonic recording. Truly simplified, easily understood. Comparative value, $75.00. With full instructions, $29.50. 16mm edition, $17.50. S.OS., 636\u2014 Uth Ave., New York.\n\nLittles' Tenth Party Makes Real Hit\n(Continued from Page 228)\nproduced by the \u201cCinecoles\u201d \u2014 Charles and Robert Coles, of New York.\nThe four films on the latter half of the program were done in full color. \"Beyond Manila,\" by W. G. Hahn from Baguio, P.I., showed the amazing rice terraces of the Philippine back-country and included dramatic scenes of a native harvest festival. \"Archbishop of New Jersey,\" produced by the Photo-Patrons Club of East Side High School, Newark, N.J., was an excellent film record of the ceremonies which accompanied the elevation of the Most Rev. Thomas J. Walsh, Archbishop of Newark, in April 1938. The best productions of the evening were \"Still Waters,\" by Fred C. Ells from Yokohama, Japan, and \"A Country Wedding,\" by Ing. T. Janowski from Warsaw, Poland. Many amateur moviemakers who attended last night's show pronounced Janowski's \"Country Wedding\" the finest piece of 16mm film.\nThe film exhibits charming good humor and visual beauty, depicting marriage customs, feasting, dancing, and traditional costumes at a peasant wedding. The film has earned several important awards, including the grand prize of the 1938 Union Internationale du Cinema d'Amateur contest.\n\nRuby Camera Exchange, 729 Seventh Ave., New York City. Established since 1910.\n\nMicrophone boom, crank adjustment, adjustable height from 3 to 13 feet, velocity microphone - $50.\n4-wheel dolly, swivel seat, pan and tilt head, with baby spot mounted - $65.\nDe Vry Projector, Station, N. Hollywood, Charleston 60414.\n\nWestern Electric interlock motor mounted on door for Mitchell Standard Camera.\nCamera Equipment Company.\nFOR SALE - Bell & Howell Cine-motor, perfect condition, $110. Reply Box 977, American Cinematographer, 1782 No. Orange Dr., Hollywood, Calif.\n\nWanted:\nHollywood Camea Exchange wants to buy cameras and accessories: Mitchell, B & H, EyeMo, Debrie, Akeley, also laboratory and cutting room equipment.\n\nCamera Equipment Company\n1600 Broadway, New York City\nCable: Cinequip\n\nWanted to buy for cash:\nCameras and accessories: Mitchell, B & H, EyeMo, Debrie, Akeley.\nAlso laboratory and cutting room equipment.\n\nMake your next movie camera versatile. An independent, nationwide survey proves that the majority of movie-makers want their next camera to be a Bell & Howell Filmo. Why? Because Filmos provide professional results with amateur ease. Because they impose no limitations. (American Cinematographer, 238)\nRestrictions on the quality or variety of movies you can make. Filmos are precision-built by Hollywood's preferred cinemachinery makers. From $49.50 to $1155, there is only one quality\u2014 the finest! Write for details or see your dealer. Bell & Howell Company, Chicago; New York; Hollywood; London. Established 1907.\n\n\"Shelloading\"\nNo threading of film.\nSimply insert film magazine.\nFootage dial on magazine visible in and out of camera.\n\nNew Automatic\nThe new Filmo 141 operates almost automatically, so you may concentrate on the scene\u2014not on the camera. It loads instantly with prethreaded 16 mm film magazines\u2014either color or black-and-white.\n\nNo mistakes. Off-center pictures are eliminated by the exclusive positive viewfinder. Built-in exposure chart covers every outdoor subject.\nWide scope. Four speeds and single-frame exposure. Lens and finder.\nObjective units are instantly interchangeable with a full range of tele-photo, wide-angle, and speed lenses. The durable die-cast aluminum housing of the 14 1 is so beautifully finished that it is often mistaken for a molded plastic case. Pocket-sized. See this fine camera at your dealer's, or write for details.\n\nNew low prices:\nFilmo 14 1 with Taylor-Hobson\nWith B&H Lumax 1-inch\nWith Taylor-Hobson 1-inch\n\nPalm-size Filmo 8. Only $4950.\nFilmo 8's are easy to load, easy to operate. Take fine color movies even in slow motion. Single-frame exposure, instant lens interchangeability, masks for telephoto lenses. With single lens seat, F 3.5 lens, and speeds 8, 16, 24, and 32, now only $75.\n\nDo you want the economy of 8 mm film plus complete readiness for all picture opportunities? Then choose Filmo 8.\nThe new Filmo Turret 8 mounts three lenses and matching finder units on a revolving turret. When a lens is in shooting position, its viewfinder is, too.\n\nFilmo Turret 8 features the exclusive, \"positive\" finder which always shows a magnified, sharply outlined image of the exact field to appear on the screen \u2013 even if you fail to look through the center of the eyepiece.\n\nThe Turret 8 also has a straight-through-the-lens critical focuser, four speeds, single-frame exposure, automatically reset footage dial, and complete exposure guide. See it at your dealer's.\n\nWith a 1214 mm. F 2.5 lens.\n\nMAIL COUPON FOR DETAILS\n\nSend details about ( ) ir ' '\nBell & Howell\nName\nAddress.\nSPEED of OPERATION!\n\nControls conveniently placed at the rear of the Mitchell Studio Camera for operating\u2014 Shift Over, Variable Magnification and Filters in Focus Tube, Automatic and Hand.\nMITCHELL CAMERA CORPORATION\n665 North Robertson Boulevard, West Hollywood, CA\nCable Address \"MITCAMCO\" Phone Oxford 1051\nBell & Howell, Ltd. London, England\nCLAUD C. Carter Sydney, Australia\nD. Nagase & Co., Ltd. Osaka, Japan\nAgencies:\nMotion Picture Camera Supply Co., New York City\nFazalboy, Ltd. Bombay, India\nH. Nassibian Cairo, Egypt\n\nProblems:\n\nHuse\nWith Camera Abroad\nBryan\nStaging Movie Party\nSprungman\nTelevision for Engineers\nStull\nShopping for Camera\nSherlock\nMaurer Tells of 16mm, Sound\nWhittington Lab on Wheels\nCurtis Color Camera\nPower-Loy in 20th-Fox \"The Rains Came\"\nSound by Amateurs\nLyford\nFiltering Arcs\nLang\nImproved Cinemotor\nHaythorne\nJune\nForeign 35mm\n\nPublished in Hollywood by the American Society of Cinematographers\nFor excellence.\nMore and more cinematographers are turning to Superior Pan. Not because of any single outstanding quality, but because it offers an excellent combination of all photographic qualities. On your next production, rely on Superior Pan. It lets you work with confidence and gives a beautiful screen result.\n\nDu Pont Film Manufacturing Corporation INCORPORATED\n9 Rockefeller Plaza SMITH &. ALLOr, LTD.\nNew York. . . . N.Y. 6656 Santa Monica Blvd.\nPlant . . Parlin, N.J. Hollywood . . . California\nBETTER THIN QS for BETTER LIVING through CHEMISTRY\n\n242 American Cinematographer \u2022 June, 1939\n\nNew Eyemo, with compact turret and crank and spring drive\nMore Versatile. A new flat base, 21/2 \" square, gives perfect seating on any flathead tripod. Provides steadier mounting; eliminates need for \"cradle\u201d or other accessory. Two dowels.\nholes in base ensure perfect camera alignment on tripod head. New base in no way interferes with convenient hand operation. More Dependable. Every lens can now be locked in focus with a new positive lock-screw device. Also, a new locking device, for use with the off-set turret, assures alignment and steadiness even with heavy lenses of long focal length. More Compact. New detachable cord now supplied with electric-drive models. Facilitates handling \u2014 no dangling cord. Eyemo was compact. Eyemo was versatile. Eyemo was dependable. For these reasons, it has always been the first choice in portable cameras among newsreel cameramen, explorers, and other professional movie men. Now there is new justification for this overwhelming preference! Important new changes.\nMake Eyemo more compact, dependable, and versatile. Eyemo is ready to master any emergency in the studio or the field. It can be equipped with a tripod, 400-foot magazines, electric drive (synchronous if desired), and other studio camera accessories. Or it can be quickly stripped to a light, compact, spring-driven hand camera. Eyemo has focusing and diaphragm controls visible through the viewfinder, standard S.M.P.E. sound aperture, vibrationless governor, and other features.\n\nBell & Howell Company\n1848 Larchmont Ave., Chicago, Ill.\nPlease send complete details about the new improved Eyemos.\n\nName .\nAddress .\nCity . State .\nJune 1939, American Cinematographer 243\nMargo and Walter Abel in \"Miracle of Main Street,\" photographed by Charles J. Van Enger, A.S.C., for Grand National.\n\nThis is a scene from Twentieth Century-Fox's story of India, \"The Rains Came.\" Bert Glennon, A.S.C., was in the chair. Tyrone Power and Myrna Loy are shown on horseback. The scene was directed by Clarence Brown. The still was exposed by Cliff Maupin.\n\nAmerican Cinematographer\nA Technical and Educational Publication on Motion Picture Photography.\nPublished monthly by the American Society of Cinematographers, Inc.\n1782 North Orange Drive, Hollywood (Los Angeles), California\nTelephone Granite 2135\n\nJohn Arnold, President\nFrank B. Good, Secretary-Treasurer\n\nContents\n\nAustralia has its laboratory problems (Emery Huse, A.S.C.)\nBy George Blaisdell (247)\nWhy not stage a real movie party?\n\nBy Ormal I. Sprungman\nTelevision highlights engineers\u2019 convention\n\nBy William Stull, A.S.C. (248)\nB & H issues screened tale of how cartoons are made\n\nImproved wild cinemotor developed (259)\nBy Reed N. Haythorne, A.S.C.\n\n\"Documentary Film\" has genuine interest\nIn foreign countries few simple tools are adequate (262-263)\n\nBy Julien Bryan\nFonda 16mm developer now ready for market (266)\n\nMaking the cannons roar . . . and how! (267)\nBy Richard H. Lyford\nFiltering arcs for matching quality in monochrome (269)\n\nBy Charles B. Lang, Jr., A.S.C. (272)\nWhen shopping for a camera\n\nBy James A. Sherlock\nVersatility added by Eastman lens combination (274)\n\nEdwin L. Dyer, A.S.C., passes (274)\nErpi stages shows on sound world around (275)\nMaurer tells Engineers of sound progress in 16mm. Whittington lab on wheels has a lot to do. Thalhammer issues line of photographic accessories. Press Photography with the Miniature Camera. Curtis color camera is light and fast. Abstracts of papers from recent Engineers convention at Hollywood.\n\n\"Midsummer Madness\" (a script) - Cinemaker\nThe Staff\nEDITOR: George Blaisdell\nWASHINGTON\nStaff Correspondent: Reed N. Haythorne, A.S.C.\nTechnical Editor: Emery Huse, A.S.C.\nAdvisory Editorial Board: Victor Milner, A.S.C.; James Van Trees, A.S.C.; Fred W. Jackman, A.S.C.; Farciot Edouart, A.S.C.; Fred Gage, A.S.C.; Dr. Herbert Meyer, A.S.C.\nCirculation Manager: L.F. Graham\nNEW YORK REPRESENTATIVE: R. Cowan, 19 East 47th St., New York.\nPhone: Plaza 3-0483.\nFOREIGN REPRESENTATIVE: Georges Benoit, 100 Allee Franklin.\nPavillions-sous-Bois, Seine, France.\nTelephone: LeRaincy 13-19.\nAustralian Representative: McGill\u2019s, 179 Elizabeth Street, Melbourne,\nAustralian and New Zealand Agents.\n\nNeither the American Cinematographer nor the American Society of Cinematographers is responsible for statements made by authors.\n\nEstablished 1920. Advertising Rates on application. Subscription: United States, $2.50 a year; Canada and the Pan-American Union, $2.50 a year; Foreign, $3.50 a year.\nSingle copies, 25 cents; back numbers, 30 cents; foreign, single copies, 35 cents; back numbers, 40 cents.\n\u00a91939 by American Society of Cinematographers, Inc.\nEntered as second class matter November 18, 1937, at the post office at Los Angeles, California, under the Act of March 3, 1879.\nVolume XXVII, Number 6, June 1939\n\nHARD WORK?\nSome people make such hard work of taking movies that\nIt's a wonder they ever get results. Others make it easier... and ensure tip-top results by loading their cameras with Agfa 16mm Hypan Reversible Film. Hypan is ideal for outdoor photography. Its exceptional brilliance brings you sparkling screen results with added snap and luster. It is fine-grained and fully panchromatic. Hypan's speed in daylight is approximately that of the famous Agfa Superpan Reversible. Get Agfa 16mm Hypan Reversible film and start getting better outdoor movies. Hypan comes in 100-foot rolls at $6.00, and in 50-foot rolls at $3.25. Prices include processing and return postage. Made by Agfa Ansco Corporation in Binghamton, New York, USA.\n\nHypan Film\n\nBy Emery Huse, A.S.C.\nWest Coast Manager, Motion Picture Film Department\nEastman Kodak Company\n\nProblems\n. Facec Labs, Australia.\nI. Technical Editor, American Cinematographer\n\nEmery Huse, technical authority on motion pictures, has recently returned from a visit to Australia where he paid especial attention to laboratory work.\n\nIt was recently my good fortune to visit Australia, primarily to study the motion picture industry as it exists in Sydney, with particular attention being devoted to laboratory work. It was extremely interesting to study the technical side of the industry as well as to observe the Australian people's reaction toward American motion pictures.\n\nThe motion picture industry is usually considered as being divided into the separate groups of production, laboratory, distribution, and exhibition. The Australian motion picture industry differs from the American in one major respect, and that is production.\n\nThere has been, and there is currently, a significant difference in the production methods between the two countries.\nLittle actual motion picture production in Australia, although one company produces a feature-length motion picture from time to time. Australian Problems Distribution and exhibition problems are not greatly dissimilar to those existing in this country. However, the laboratory side of the motion picture business, as far as Australia is concerned, assumes major proportions because primarily the entire industry is hinged around the manufacture of release prints by five different laboratories.\n\nThese five laboratories variously handle the work coming in from American and British producers. Their job consists of making prints for distribution from duplicate negatives. In some instances, it is necessary for the laboratories to make the duplicate negatives from which they make their release prints.\n\nIt would be of interest to those connected with the local motion picture industry.\nThe picture industry in Australia faces similar problems as laboratories nationwide utilize developing machines, mostly self-devised due to high tariffs preventing imports. Laboratory men in Australia are earnest and conscientious, producing high-grade products for the screen. Their challenges mirror those in the United States, despite fewer volumes of work to maintain continuous and smooth plant operation.\nTen to fifteen release copies are necessary for Australian distribution. Currently, some major American producing companies are submitting composite fine grain duplicate negatives from which release prints are made. With such material, the job of the Australian laboratories is relatively simple as they only have to make release prints.\n\nSome other American producing companies are not doing a good job in this respect and submit either lavender master positives or, in some instances, a black and white print of poor quality and most certainly not suitable for duplicating purposes.\n\nWhen prints are submitted to the laboratories, they must make duplicate negatives. While the Australian laboratories do as good a job as can be expected, it is impossible for them to do so when inferior prints are submitted.\nAmerican companies should improve the quality of the material they receive from their principals to better compete in foreign markets. Those American companies neglecting their foreign markets suffer in comparison to those giving due consideration to this branch of their business. While photographic quality may not directly sell a picture, the quality of American goods in foreign countries is judged by visual quality, among other factors.\n\nAustralia, like America, has many double feature bills in its theaters, and the difference between prints from companies giving thought to their foreign distribution and those which do not is outstanding and significant.\nCompanies doing the better job are clearly favored. Australian Giving Break. The prints from major companies submitting fine grain duplicate negatives are of very high quality, while those companies which submit only black and white prints or poorly made lavender master positives show very poor quality. It should be stated here that considering the conditions under which Australian laboratories have to work, they are turning out an extremely satisfactory print quality. They are not gifted with new laboratory buildings, new equipment, complete air conditioning and all of the many refinements which seem necessary in this country for good laboratory work. Therefore, the job of the Australian laboratory man is even harder and requires considerably more care and attention on the part of the laboratory crew.\nIn view of all this, he is giving the American producer a very good break and generally much better than some producers are giving him. There need be no qualms in the minds of American producers that the foreign laboratories, particularly those in Australia, are not doing their part.\n\nSydney Theatre Town\n\nTo give some idea of the interest shown in motion pictures by the general public, it should be stated that there are as many, if not more, major downtown theaters in the city of Sydney as there are in Los Angeles.\n\nAs far as neighborhood houses are concerned, they are very numerous, and while Sydney does not cover the area that is covered by Los Angeles, it nevertheless has a very comparable population.\n\nIt was my experience in attending some twenty-five theaters in Sydney that the programs were put on very excellently.\nRecently, in theatres which were extremely comfortably built, with projection conditions as good as those in most American houses and with interest shown by the public as great, if not greater, than that shown in many American cities. It would seem, therefore, that anything that could be done by American producers to increase the quality of their own product in the foreign markets should be done. The old adage \u201cseeing is believing\u201d is certainly true, and those producers who might feel that anything is good enough for their foreign markets should immediately amend those thoughts. There is some possibility of future picture production in Sydney. At this time, it is difficult to say when or how much production will be attempted. At any rate, there is a great desire for an Australian production industry, and since there is the spark of desire, it may grow.\nAfter an absence of fifteen years, New York no longer seems the same place. It has not changed much, yet it is bigger and greater. There have been vast improvements in highways and bridges. Buildings are higher and wider. The subways are unbearable. Any pilgrim in doubt should start at 9 o'clock on an evening at Times Square to make his way to some central point in Newark. It's a long story. After being baffled by the absence of attendants who can help a stranger, by closed ticket offices, by an absence of train men at their old posts between cars - perhaps two men to a train outside of the motorman - it may not seem unusual if the stranger is forced to walk.\nConclusion: New York may proudly proclaim itself as the home of Radio City to the world, but it should wear sackcloth and ashes when the subway is mentioned. Ask one of the trainmen if in doubt. The National Photographic Dealers Association held a great show at the Hotel Astor from April 24 to 27. Eight hundred eight dealers and representatives, six hundred one exhibitors and representatives, and seven thousand five hundred fifty guests attended. At the banquet at the show's close, six hundred sixty-four guests were present. Turn to the center of the book for a chance to count them. The officers, under President Charles Bass of Chicago, are already soliciting feedback from members and exhibitors regarding another exhibit next April and inquiring as to whether it should not be held in New York, but if not, which city.\nOne pleasure of the visit was meeting the men who make Movie Makers at the convention and their offices. Among these were Colonel Roy W. Winton, managing director; Arthur L. Gale, editor; Russell C. Holslag, advertising manager; Frederick G. Beach, technical editor; James W. Moore, continuity editor; Alexander De Canedo, art editor, and many others from the large staff. There was also a look-in on The New York Times print shop, the greatest newspaper in the world. This isn't the place to tell its story, but it will have plenty of interest for every human who reads a newspaper. Less than fifty years ago, the same journal was in the hands of receivers, its delivery equipment limited to two horses.\nwagons \u2014 Nos. 7 and 14 \u2014 the financial outlook for the publication was plenty blue. Then on the scene entered a young man of thirty-six from Chattanooga, already a successful publisher. Adolph S. Ochs quickly wrought a transformation. In a comparatively few months, he was a nightly visitor on the composing room floor \u2014 ordering OUT ads. To a protesting printer, he smiled. \u201cAlways give your readers a chance,\u201d he remarked. It was not long before more presses were installed and the publisher was able to increase his pages from sixteen to eighteen without cutting the capacity of his presses in half. But that really was a long time ago.\n\nE.B. Lang of New York makes a pertinent inquiry. He pleads inability to make sense of a story in which he was manifestly interested. That it may be clear also to others, it will be necessary to provide more context.\nNecessary only to transpose the first four lines of Page 230 of the May issue to the top of the first column of Page 201. The story of \u201cHollywood Engineer Designs New Type Meter\u201d may then be intelligible. Thirty pages really is too much of a jump for a reader to surmount with ease. But like unnumbered other crimes parallel and worse, the perpetrator never will be known. Another pleasure that rated high on the trip East was a visit to the home of the Duncan Little. There is a home to delight the heart of the movie fan. It is entirely believable that in the City of New York there are few built on the same mold. As you step into the apartment, you enter a great room that roughly must be thirty-five feet square and at least as high. On one side is a large fireplace, and on the other, floor-to-ceiling windows that overlook Central Park. The furniture is a mix of modern and antique, and the walls are adorned with movie memorabilia. The atmosphere is warm and inviting, and it is easy to imagine the glamour and excitement of Hollywood just a few miles away.\nThe American Cinematographer's side is a set of portholes that stir the urge to be on the other side. Later, the opportunity is presented. Perhaps we may be able to print the pictures of these two rooms \u2014 the ones that serve so strikingly the purposes of theatre and projection. In the latter, which of course is a projection room only by courtesy and on occasion, there is a section devoted to records. It is of sufficient size seemingly to supply stock for a good-sized store. Also, there is a place for every conceivable convenience of the amateur cine projectionist.\n\nThe Littles put on a second showing of their Tenth Party at the request of the Photo Patrons Club of the East Side (Newark) High School. To this school were invited the boys and girls interested in movie making in all high schools in Newark and its surroundings.\n\"It was described as a party to be remembered. \"Married Man\" by J. Roy Hess. She tells me how to drive, how to walk, what to eat, and how to talk. She tells me when to go to bed and what I should prefer. I wonder how I got along before I married her? For the evening, there had been a showing at the Newark Art Club. It was there we slid in late that night. As we stood in the doorway, we were cordially invited to enter. \"I was looking for Mr. Little,\" the visitor said. \"Right here,\" came from a turnable. \"I'm just in from Hollywood.\" There was a real handshake, followed by introductions. It was then late, but much later when we bided goodnight to the genial couple, with an agreement to meet three days later.\"\nThe Littles' Home Theatre pictures. An unusual experience was a tour through the great plant of the Spencer Lens Company in Buffalo. This company is planning an expansion, as evidenced by the magnitude of the new building recently completed on a twenty-three-acre plot of ground. It is 210 by 410 feet in area, with a power and heating plant in addition. The old building will continue in service.\n\nFrank B. Good, A.S.C.\n\nFrank B. Good, A.S.C., the first member of the American Society of Cinematographers and almost uninterruptedly a member of the Board of Governors for the twenty years of the society's existence, is the new treasurer of the body. Since 1934, he has served as secretary. He now carries the added honor of secretary-treasurer.\n\nIt was in 1914 when the new treasurer of the American Society of Cinematographers, Frank B. Good, began his service.\nure took up camera work. His first engagement was with the Ford Sterling company, affiliated with Fred Balshofer. The studio was on the northwest corner of Sunset and Gower, the site formerly occupied by David Horsley. It now is occupied by the imposing edifice of the Columbia Broadcasting Studio.\n\nAfter this engagement, Good went to D.W. Griffith\u2019s Majestic-Reliance Studio at 4500 Sunset Boulevard, where for two and a half years he photographed Norma Talmadge. Then he joined the William Fox company, the studio of which was in Edendale. Here he remained seven years. Then for five years he photographed all of Jackie Coogan\u2019s pictures.\n\nHe was several years at the Warner Brothers\u2019 Studio and then for three and a half years he photographed George O\u2019Brien at the Sol Lesser studio. For Paramount\u2019s \u201cSpawn of the North,\u201d several years.\neral  months  were  spent  in  Alaska  mak\u00ac \ning  location  shots  on  the  great  melo\u00ac \ndrama. \nIn  these  years  Frank  Good  has  seen \nand  been  a  part  of  many  advances  in \nthe  photographic  world.  He  has  had \nhis  share  of  color,  too,  in  Technicolor \nand  with  bi-pack.  Among  the  Techni\u00ac \ncolor  subjects  which  fell  to  him  in  the \nWarner  studio  were  \u201cOn  with  the \nShow,\u201d  \u201cSong  of  the  West,\u201d  \u201cSong  of \nthe  Flame,\u201d  \u201cSweet  Kitty  Bellairs\u201d  and \n\u201cViennese  Nights.\u201d \nFrank  B.  Good,  Secretary-Treasurer  A.S.C. \n248  American  Cinematographer  \u2022  June,  1939 \nBy  ORMAL  I.  SPRUNGMAN \nAll  flash  pictures  and  lfimm.  movie  frames \nenlarged  by  writer \nMembers  of  the  program  committee  of  the  Minneapolis  Cine \nClub,  ready  to  inspect  films  of  possible  Movie  Party  caliber.  A \nflood  of  entries  later  required  two  projectors  for  throwing  two \npictures  simultaneously  on  a  split  screen  to  speed  judging. \nOn May 12, 1939, one of the largest audiences in the country attended the Minneapolis Cine Club's Second Annual Movie Party at the downtown Minneapolis Woman's Club. Over 600 avid amateur movie fans and their guests witnessed 3,000 feet of selected 16mm monochrome and Kodachrome footage in the luxurious, capacity-filled theater. George Culbertson, who assisted with sound synchronization, is shown kneeling as he threads the projector.\nHarold Bronson, local club program chairman and Second Annual Movie Party general chairman, issued the initial call for movie inspection shortly after the new year. Due to the large 8 by 10 foot screen, only 16mm entries could be considered despite several excellent 8mm productions being available. Films previously screened during regular club programs were recalled for consideration, and the program committee was swamped with entries ranging from lengthy travelogs to newsreels and feature shorts. Special meetings were called to judge all entries.\nWeekly, two projectors were used to show individual reels simultaneously on a split screen. Refreshments served in the various members\u2019 homes helped stimulate interest in the club project. Films were judged solely for their exposure, camera handling, subject matter, and possible audience appeal. Exposure rated first, as a slightly underexposed shot blown up on an 8 by 10 foot screen would look doubly under, while a slightly overexposed shot was not nearly so noticeable. Correct exposure was most sought after.\n\nFollowing the practice of professional theater presentations, the club\u2019s program was divided into three parts: Newsreels of Other Years, Feature, Fact and Fancy, and Travelore.\n\nNewsreels and feature shorts, running around 1500 feet, filled the first reel. The second reel handled only travel stuff, including a special experience.\nVariety was the key note of the newsettes. One club member had filmed a Kentucky coal mine fire at night. Another had resurrected some priceless scenes, taken more than a decade ago, showing Zona Gale piloting her father\u2019s train, the \u201cWilliam Crooks,\u201d now on display at the New York World\u2019s Fair. There were sport shorts on air maneuvers, midget auto racing, boxing, and even human moles tunneling 80 feet beneath the city\u2019s streets.\n\nWide Variety\n\nOne local amateur had filmed a Jimmie Lynch thrill show, capturing the actual head-on crash of two fast-traveling cars, and a singleton plunging through a blazing wall. Another had filmed the humorous frolic of some of Oregon\u2019s wobbly-legged lambs.\n\nAmong the Kodachrome newsettes were close-ups of tropical fish in a home aquarium, illuminated only by window light.\nSunlight in slow motion during golf against a cloud-fluffed background, and downtown street signs in color at night. Carroll Davidson, last year's program chairman who first suggested the Movie Party idea, had devised a special metal arm for his movie camera to accommodate an overhead photoflood in a reflector. A range finder was also fitted to the arm, including a homemade exposure scale for distances and several coils of extension cord. During the 1938 movie party, he wandered at large shooting candid close-ups of guests entering the auditorium, as well as operations on the stage and in the booth. This footage, along with similar stuff exposed at the club's Christmas party, was included as a newsreel sideline for a personal touch.\n\nFeaturettes which were too long for the newsreel, yet too short for the travel department, also found a spot.\nA Black Hills pow-wow, Minneapolis, the Livingston Round-Up, Grand Canyon scenic study, Yellowstone waterways and wildlife, Babes in Movie-Land, and a short skit titled \"Vanishing Cream\" were included. The following scenario, adapted from one published in the new Eastman book \"How to Make Good Movies,\" revolves around a cinema club president who purchases a new vanishing cream for his wife and eventually tries it on his own chapped hands. That evening, the movie club boys drop in for an informal get-together, each greeted with a cordial handshake. One by one, during the evening, the boys begin to vanish. By the time all the guests have disappeared via thin air, the club president suddenly recalls the jar of cream, which he fetches promptly. Inspected closely, the label reads \"Oriental Formula.\"\nThe president raises his hand to his perspiring brow, he too vanishes as \"The End\" fades in. This skit, which offers numerous other angles, was filmed indoors on a rainy Sunday morning. To give the illusion of a rapid disappearance, both camera motor and scene action were halted momentarily while one of the actors stepped out of the picture, then filming resumed. Baby movies hold almost universal appeal, particularly among women, and much more footage was devoted to baby subjects than heretofore. This was combined under the general heading, \"Babes in Movieland: An Intimate Closeup of Club Member Offspring.\" A sample subtitle, for instance, would read something like that in the next column. In the Travelore section, Leslie R. Olsen, former club president, contributed a well-exposed 400-foot California feature, covering the Santa Anita races.\nLeft, special telephone communication was maintained at all times between stage and soundproof projection booth. Right, Dr. Leonard Martin controlled. Sound discs, as well as musical recordings, were played on dual turntables with three pickup arms. A preview of the Golden Gate International Exposition was shown. Falconer Thomas kicked in with a 300-footer on musky fishing in Lake of the Woods. Dan Billman, Jr., whose West Indies reel, \u201cBlack Cousins,\u201d was described in last month's American Cinematographer, furnished an abbreviated version of Hawaiian Honeymoon. Dr. & Mrs. Reinhold Ericson presented.\n\nJohn\nAge: Two years\n\nA 1200-foot feature was boiled down to 400 feet. Hellroarin\u2019 Heaven, the editing of which was covered in February AC, closed the program.\n\nTo fill the gap between two longer features, a short novelty movie was shown.\nIntroduced in the form of an experimental attempt at lip synchronization, this was created by filming a vocal and instrumental trio going through lip and arm movements while a recording of \"Down by the Old Mill Stream\" by Decca was being played simultaneously. Since no synchronization was possible at first, 16mm. color frame enlargements from Stanley Berglund's \"Babes in Movieland\" were used for reference.\n\nRight, 16mm. frame enlargement of main title for \u201cVanishing Cream.\" While the camera motor spins, cold-creamed hands lower over wording for dramatic effect. Between the camera and turntable motor, careful editing and varying the projector speed brought about reasonably good synchronization, which proved to be one of the show's sensations.\n\nThe manner in which amateur movie reels can be built around musical recordings, such as this one, will be discussed.\nFew acceptable entries did not require the elimination of one or more scenes or a slight change in continuity. Some newsreel briefs were salvaged as highlights from much longer features. No film was altered without the owner's permission, and where such permission was not granted, the entire contribution was rejected with thanks. Every effort was made to include only the best exposed footage, and film judges made no compromises.\n\nRome Riebeth, club secretary and editor, constructed a homemade titler in his workshop to permit zooms, flip-overs, and other tricks, and this was used for filming the introductory, double-exposed main titles, hand lettered by Ray Rieschl. The balance of the titles were filmed using standard methods.\n250 American Cinematographer \u2022 June, 1939\n\nType-set and photographed on appropriate backgrounds by a New York titling concern.\n\nFitting music to this conglmeration of scenes and sequences was no easy job. With few exceptions, none of the movies had ever before been played with music, and the sound staff labored hard through one solid week of rehearsals preceding the final screening. Numerous recordings were suggested, tried and discarded.\n\nLeft, this unique titler, permitting zooms, fades and other tricks, was built by Secretary Rome Riebeth. Ray Rieschl handlettered main titles. President W.R. Everett gives his final okay.\n\nRight, Carroll Davidson, seated in audience, advises booth of sound reception and projection. Special telephones were used.\n\nMade even more realistic by touching the edge of the revolving disc with varying pressure.\nFinger pressure was used to reproduce the underwater tones of a gurgling motor. Ear phones were worn by projectionists as well as sound men in the projection booth to watch synchronization more closely. Such phones were essential during the screening of the novelty, \"Down by the Old Mill Stream,\" which required both eye and ear work.\n\nMusic Fooled 'Em.\n\nThe final music was selected from over a hundred recordings. In fact, the presentation was so smooth and perfectly timed that some of the audience actually thought that the entire film carried its own sound track.\n\nDr. Leonard Martin, 8mm. enthusiast, utilized homemade dual turntables with three pickup arms for playing the background. He was ably assisted by George Culbertson, sound technician of last year's Movie Party who recently joined the staff of radio station WCCO.\nMr. Rieschl, who has invented and patented a revolutionary device for 8mm Filmos to permit fades and dissolves, handled natural and man-made sounds before a microphone. The simple manner in which these sounds were created to supplement disc recordings often stumped even the experts in the audience.\n\nThe realistic thump-thump of boxing gloves was recreated perfectly by finger drumming the microphone, the face of which was covered with a slipcover. Campfire licks of flames were made natural sounding by crinkling cellophane close to the mike.\n\n\"Plop\" of Golf Ball\nThe properly timed \"plop\" of the golf ball was imitated by tapping the mike sharply with a pencil during the down stroke of the club \u2014 a stunt originally used by Hamilton Jones, Hiram Percy Maxim award winner, during his public presentations of \"Western Holiday.\"\nIn the pony racing scenes, Rieschl aped the light beat of horse hoofs on dirt by finger-thumping his chest in rapid action, synchronizing his speed for any gait. The baa-ing of sheep and a horse's whinny were done by mouth, while a real duck call was used before the microphone in a brief duck hunting sequence. Among sound effects records employed were fanfare, fire and screaming sirens, trains, airplane motor, traffic noises, waterfalls, baby crying, steamer whistles and harbor sounds.\n\nAn outboard motor recording was from Carroll Davidson\u2019s Jimmy Lynch thrill show, which was a newsreel feature.\n\nRight, 16mm. color frame enlargement from Monroe Killy\u2019s Black Hills Indian Pow-wow.\n\nDealers Helped\n\nMinneapolis camera stores voluntarily supported the show in many ways. The local Eastman store loaned equipment.\nAnd donated film for special jobs, expertly filmed by Arthur Schwartz, charter member of the Minneapolis Cine Club and the oldest movie maker in the Northwest. Leigh, Inc. took care of title costs. National Camera Exchange loaned a costly 1200-watt Bell & Howell sound projector. The Da-Lite Screen Company furnished an 8 by 10 foot beaded screen, mounted on special tripod supports. The Amateur Cinema League of New York City sent in cuts and program ideas. A local letter agency gave the tickets.\n\nWith such unselfish cooperation, it would have been disappointing if the Second Annual Movie Party had not been a success. To defray auditorium costs and other incidental expenses, each of the group's 75 members was assessed $1.50, for which he received eight tickets. (June, 1939 - American Cinematographer 251)\nMembers could obtain additional ducats only from those who had extras to sell. Remaining tickets were given to the press and cooperating firms and individuals. Already, members had begun talking about next year's Movie Party, and several individuals were planning special movie stunts in forthcoming months to ensure a place for their reels when the final selection was made.\n\nNobody knew what the Minneapolis Cine Club's next Movie Party would hold in store for its guests. A good many thousands of feet of movies would probably pass through local cameras before 1940 began. A new program chairman would take the reins by that time, and the Third Annual Movie Party would be his responsibility \u2013 and his worry.\n\nKalart Announces Photographic Contest\nThe Kalart Company has announced a photographic contest with $250 in cash prizes. Twenty-five entries will be accepted.\nawards: $10 each will be paid for the best pictures taken with a Kalart Micro-matic Speed Flash. No restrictions as to type of flash pictures, time when picture was taken, etc. Closing date is December 1, 1939. Prints must not be smaller than largements and contact prints are acceptable.\n\nProgram Chairman Harold Bronson (left) shoots the main title of the skit, \u201cVanishing Cream.\u201d See 16mm. frame enlargement of actual title filmed showing how hands lowered over title card adds unique effect.\n\nGeneral Electric Flashes World's Brightest Light\n\nOn the night of the opening of the New York World\u2019s Fair, April 30, more than forty-two million lumen-seconds of light \u2014 equivalent to the combined illumination output, for the duration of a second, of a 100-watt reading lamp in each of 27,392 homes \u2014 were emitted by a combination of twenty-four \u201cfloodlights\u201d.\nThe \"flash\" lamps and 100 large-sized photo lights are mounted at the 500 and 320 foot levels of the Trylon. The \"flood-flash\" lamp, a special development of the General Electric Research Laboratories at Nela Park, Cleveland, employs the striking characteristic of the unique 100-watt mercury lamp \u2013 its ability to withstand an untold number of sudden, powerful \"doses.\"\n\nTo swing projector for smooth right-angle turn for title background, the machine was set atop a swivel chair. Ray Rieschl (left) assists, while Edward Johnson, sprawled on the floor, does manual labor.\n\nThis lamp responds to each electrical energy input by emitting a brilliant, lightning-like flash. These flashes can occur at frequencies as close as 1/60th of a second. If desired, a peak brilliance of several million lumens can be produced with each flash. At the Fair's ceremony.\nNies, each lamp produced a million lumens. (A lumen is the amount of light required to illuminate an area of one square foot to an intensity of one foot-candle. A foot-candle is the amount of light cast by a standard candle on an object held one foot away from it.)\n\nKodak Offers Advice, Exposure Tables\nAvailable without charge through Cine-Kodak dealers, Eastman Kodak offers moviemakers compact advice and four useful exposure tables covering the four most used types of lighting for indoor filming.\n\nThe folder discusses filming by regular daylight, by a combination of daylight and daylight photofloods, by regular Mazda lighting, and by Photofloods in Kodaflectors. Exposure tables give data not only for black-and-white Cine-Kodak films, but also for Cine-Kodak Kodachrome. Diagrams supplement the concise text, and show how camera and light sources are best placed.\nA new lens in the Ektar series of Kodak Anastigmats \u2014 the Kodak Anastigmat Ektar f.3.7, with an equivalent focus of 4.4 inches \u2014 is announced from Rochester by the Eastman Kodak Company.\n\nThe new lens covers a 214 by 314 film or plate at full aperture.\n\n252 American Cinematographer\n\nA new lens in the Ektar series of Kodak Anastigmats, the Kodak Anastigmat Ektar f.3.7, with an equivalent focus of 4.4 inches, is announced from Rochester by the Eastman Kodak Company. This lens covers a 214 by 314 film or plate at full aperture.\nThe engineers' papers committee, Editorial Vice President J. I. Crabtree, Convention Vice President W. C. Kunzmann, and the efficient program organization and management of Editor Sylvan Harris deserve unbounded credit for television broadcasting's closing program. The society's television committee, chaired by Dr. A. N. Goldsmith, struck a commendably sane note in its report on a subject typically viewed as an imminent threat to motion pictures or a development of the distant future. The report stated, \"The result (of the committee's preparatory work) is not forthcoming at this time in specific form due to several reasons: first, it is necessary that the committee and its sub-committees adjust their viewpoint with respect to the relationship between motion pictures and television.\"\nIndustry and television art; second, most subjects engaging the committee's attention are long-term projects. Third, the television art is in such a state of flux at present that great care must be taken to differentiate between accepted practice and transient developmental steps.\n\nIn reporting on the state of the art, it is the purpose of the committee to avoid causing undue or unjustified concern to the motion picture industry or giving inaccurate ideas as to the immediacy of large-scale commercial television developments or the mode of utilization of the products of the motion picture industry.\n\nAs a matter of policy, only factual matters are to be included in these reports, opinions being avoided as far as possible. No attempt is to be made at any time to issue either reassuring or alarming statements.\nReports will be made at timely intervals to avoid conflicting standards or practices in the two arts. The first aim is historical and instructional, the second to guard against misunderstanding, misstatements in the press, and unnecessary conflicts of aims or opinions. The third is to act as one guiding agency, furthering interchange of mutually helpful data.\n\nThe characteristics of iconoscopes (television photosensitive tubes) have been changing with the production of new and better models. These changes affected lighting setups, lenses, treatment of sets, and other phases of production technique. Any report made at the present moment might be obsolete and misleading by the time it reaches the member.\nThe opinions of society members suggest that present motion picture standards are acceptable for television. Television aims to work towards these standards, but there are differences between television and motion picture art requirements. It may take some time before television production and reproduction technology reaches a stable stage to determine production standards.\n\nOne intriguing paper was presented by Harry R. Lubcke, director of television for the Mutual-Don Lee Broadcasting System. Prior to this, the regular Friday night television program from Don Lee television station W6XAO had been viewed.\nMembers set up three television receivers in the exhibit rooms for the presentation: two home-built instruments and one commercial Dumont receiver. Lubcke's paper, titled \"An Introduction to Television Production,\" noted that large and elaborate sets are economically unfeasible for television production, and impossible actions should not be imposed on the cast. However, through the use of miniatures, otherwise impossible actions have been televised. Real properties televise satisfactorily, although suitable illumination may be required for emphasis. In painted properties, such as backgrounds, windows, and fireplaces, the delineation of the object is important.\nFrom the general tone, the background should be sharp and the width of the line comprising the structures bold.\n\nFor multi-character scenes, the long-shot is often used with complete settings, such as a room, which may assist in the story. If small items of interest are to be displayed, however, the scene may be modified from what would normally be a longshot to one showing only half or two-thirds of the principals involved.\n\nLighting counts heavily.\n\nOne scene may be changed into the other by moving the camera or by moving the principals. Changes from long-shot to close-up may be made once or twice during an episode. Changes of scene are usually accomplished by panning, under which conditions two sets are established on opposite sides of the general stage area.\n\nThe technique of lighting for television appears to be one of the most important aspects.\nThe advance in technique is limited by the number of lighting units and the possibility of maneuvering them for changing conditions brought about by performers' motion. In television, illumination must be continuous for the entire act. In our studio, a portable switching panel is installed, giving control of individual or limited groups of all 254 lights. With this device, the lighting supervisor can vary the lighting considerably without touching any unit.\nby changing diffusers, angle of the unit, and/or position of mobile units with lighting assistants. Hard back lighting has been found to be a very desirable component in the lighting pattern. This must be supplied by lens-reflector units, such as the Mole-Richardson 210. General lighting is properly supplied by lamps in dull finish reflectors, and modeling lights for the face must be diffused with one or more diffusing screens. Pure White Light Ideal\n\nThe camera photoelectric tube suffers from a form of overload similar to overexposure if the illumination on the subject is too great. This usually occurs first on the performers' faces.\n\nThis condition is eliminated by either reducing the amount or hardness of the light or by stopping down the lens aperture. It has further been found that the spectral characteristic of the light\nAlbert W. Protzman of the National Broadcasting Company discussed television studio technique, stating in part:\n\nAn important effect is exercised by light on the resulting image. A pure white light is the ideal. Make-up is also a factor. A base paint approximately No. 29 Panchromatic is used as a start. Eyebrows are accentuated with black or dark brown lines. Lipstick of a brownish-violet shade is applied. This color has been found desirable after considerable tests in performance with red lipstick, because the camera tube exhibits increased sensitivity in the red region of the spectrum and because red light energy is particularly prominent in the incandescent illumination utilized.\nMonth. We have only to recall the early days of motion picture production, when slow-speed film and inferior lenses were a constant limitation. So with television, it is already possible to envision more sensitive pick-up tubes which will permit the use of lenses of much shorter focal length, thus eliminating many of today's operating difficulties.\n\nThomas S. Lee, left, - president of the Mutual Don Lee Broadcasting System, largest regional network in the United States and owner of WTLXAO, only television station in the eleven states west of Kansas. Right is Harry R. Lubcke, inventive genius and system director of television, holding a fourteen-inch cathode ray tube.\n\nIn May 1935, the Radio Corporation of America released television from its research laboratories for actual field and studio tests. From the stage came the:\n\n\"In May 1935, the Radio Corporation of America released television from its research laboratories for actual field and studio tests. From the stage came the following announcement:\"\nThe formula of continuity in action is a fundamental requirement of television. Television is a combination of pictures and sound, and as such, motion picture techniques are utilized at the production end. However, enough has been said about the peculiarities of television presentation to justify the notion that movie techniques do not provide the final answer. The major problem remained: preserving program continuity without sacrificing too much of motion picture production's flexibility.\n\nStudio Dimensions:\nOur live talent studio is 30 feet wide, 50 feet long, and 18 feet high. This size should not be considered a recommendation for the desired size and proportions of a television studio, as it was formerly a radio studio.\nBroadcasting studios not designed for television. Yet, despite limited space, some multi-set pick-ups have been successfully achieved. Sets are usually placed at one end of the studio. Control facilities are located at the opposite end in an elevated booth, affording a full view of the studio to control room staff. Any small sets which supplement the main set are placed along the side walls as near the main set as possible, and in such position as to minimize camera movement. At all times, we reserve as much floor space as possible for camera operations and such floor lamps as are absolutely essential. At the rear of the studio is a permanent projection room for background projection. The studio is currently fitted for three cameras. To each camera is connected a cable about 2 inches in diameter.\nOne camera, usually the long-shot camera, is mounted on a regular motion picture type dolly to ensure stable movements. It is impractical to lay tracks for dolly shots because each camera must be moved frequently in all directions during the televising of a studio show.\n\nCamera Doubly Equipped\n\nThe other studio cameras utilize a specially designed mobile pedestal. These are very flexible and may be moved in and out of position by the operators themselves. Built into the pedestals are motors which elevate or lower the camera controlled by push-buttons. A panning head similar to those used for motion pictures is also included.\n\nEther is 50 feet long; it contains 32 conductors including the well-known coaxial cable over which the video signal is transmitted to the camera's associated equipment in the control room.\n\nOne camera, usually the long-shot camera, is mounted on a regular motion picture type dolly to ensure stable movements. It is impractical to lay tracks for dolly shots because each camera must be moved frequently in all directions during the televising of a studio show.\n\nThe other studio cameras use a specially designed mobile pedestal. These are very flexible and may be moved in and out of position by the operators themselves. Built into the pedestals are motors which elevate or lower the camera controlled by push-buttons. A panning head similar to those used for motion pictures is also included.\n\nEther is 50 feet long. It contains 32 conductors, including the well-known coaxial cable over which the video signal is transmitted to the camera's associated equipment in the control room.\n\nOne long-shot camera is mounted on a regular motion picture dolly for stable movements. Laying tracks for dolly shots is impractical due to the need to move cameras frequently in all directions during studio shows.\n\nThe other studio cameras employ a specially designed mobile pedestal. These are flexible and can be moved by operators. Pedestals have motors for elevation/lowering controlled by push-buttons, and a panning head similar to motion picture heads is included.\n\nEther is 50 feet long and contains 32 conductors. The coaxial cable over which the video signal is transmitted to the camera's equipment in the control room is well-known.\n\nOne long-shot camera is mounted on a regular motion picture dolly for stable movements. Dolly shots require impractical track-laying due to the need to move cameras frequently in all directions during studio shows.\n\nThe other studio cameras utilize a mobile pedestal. These are flexible and can be moved by operators. Pedestals have motors for elevation/lowering controlled by push-buttons, and a panning head is included.\n\nEther is 50 feet long and contains 32 conductors. The coaxial cable transmitting the video signal to the camera's equipment in the control room is well-known.\n\nOne long-shot camera is mounted on a regular motion picture dolly for stable movements. Laying tracks for dolly shots is impractical due to the need to move cameras frequently in all directions during studio shows.\n\nThe other studio cameras use a mobile pedestal. These are flexible and can be moved by operators. Pedestals have motors for elevation/lowering controlled by push-buttons, and a panning head is included.\n\nEther is 50 feet long and contains 32 conductors. The coaxial cable transmitting the video signal to the camera's equipment in the control room is well-known.\n\nOne long-shot camera is mounted on a regular motion picture dolly for stable movements. Impractical to lay tracks for dolly shots due to the need to move cameras frequently in all directions during studio shows.\n\nThe other studio cameras employ a mobile pedestal. These are flexible and can be moved by operators. Pedestals have motors for elevation/lowering controlled by push-buttons, and a panning head is included.\n\nEther is 50 feet long and contains 32 conductors. The coaxial cable transmitting the video signal to the camera's equipment in the control room is well-known.\n\nOne long-shot camera is mounted on a regular motion picture dolly for stable movements. Dolly shots necessitate impractical track-laying due to the need to move cameras frequently in all directions during studio shows.\n\nThe other studio cameras use a mobile pedestal. These are flexible and can be moved by operators. Pedestals have motors for elevation/lowering controlled by push-buttons, and a panning head is included.\n\nEther is 50 feet long and contains 32 conduct\ntion  picture  cameras  is  also  a  part  of \nthe  pedestal. \n\u201cEach  camera  is  equipped  with  an \nassembly  of  two  identical  lenses  dis\u00ac \nplaced  6  inches  vertically.  The  upper \nlens  focuses  the  image  on  a  ground  glass \nwhich  is  viewed  by  the  camera  operator. \nThe  lower  lens  focuses  the  image  on  the \n\u2018mosaic,\u2019  the  iconoscope\u2019s  light-sensitive \nplate. \n\u201cLenses  with  focal  lengths  from  6% \nto  18  inches  are  used  at  present.  Lenses \nof  shorter  focal  length  or  wider  angle \nof  pick-up  cannot  be  used  since  the  dis\u00ac \ntance  between  the  mosaic  and  the  glass \nenvelope  of  the  iconoscope  is  approxi\u00ac \nmately  6  inches. \n\u201cIn  television,  the  camera  operator \nmust  do  the  focusing  for  fixed  shots \nand  dolly  shots  alike.  This  added  opera\u00ac \ntion,  at  times,  is  quite  fatiguing. \n\u201cBecause  several  cameras  are  often \ntrained  on  the  same  scene  from  various \nangles,  and  because  all  cameras  are \nPerformers must be informed which camera is active during silent television operation. Two large green bullseye signal lamps are lit below the lens assembly when a particular camera is switched \"on the air.\" In television, a greater amount of key light is required than in motion pictures. A television set must be lit in such a way that all camera angles are anticipated and properly lit at once.\n\nGreat care must be taken to gobo stray light from all camera lenses. This task is not always easy, as during a half-hour performance, each of the three cameras may make as many as twenty different shots. A direct beam of high intensity light may temporarily paralyze a tube, rendering it useless for the moment.\n\nTelevision sets are usually painted in shades of gray. Color in sets is relatively new.\nSets must be rendered in considerable detail, real and genuine; a marked difference between a painted door and a real door can be detected. Sets should be light and designed for quick striking with minimum effort and noise, as scene changes are often required in different parts of a studio during broadcast.\n\nThe problems of background projection in television differ from those in motion pictures. More light is necessary due to the relatively greater incident light used on sets. Considering the center of a rear-screen projection as zero angle, it is necessary to make television shots within angles of at least 20 degrees.\nAngles to either side of zero degrees without significant loss of picture brightness.\n\nThis requires a special screen with a broader viewing angle. The background picture size cannot be changed once the program starts. Our background must be sharp and high in contrast for good results.\n\nAt present, glass slides are used. A self-circulating water-cell is used to absorb some of the radiant heat from the arc. Both sides of the slide are air-cooled, permitting the use of slides for approximately 30-minute periods without damage.\n\nIt has never been necessary to use gruesome make-up for the modern all-electronic RCA television system. At present, No. 26 panchromatic base and dark red lipstick is being used satisfactorily.\n\nAll camera operators wear headphones through which they receive instructions from the control-room.\nThe televised images are observed on special kinescope (cathode-ray tube) monitors. The camera operator has no control to switch his camera on the air. All camera switches, which are instantaneous, are made by electric relays in the control-room. At present, the video engineer's counterpart in motion picture work is the film editor.\n\nTelevision Has Its Mike\n\nAs in motion picture work, a microphone boom is used in television production. In the television studio, at least one camera is always set for a longshot while others are placed for closer shots. We therefore place the microphone in position just outside of the range of the longshot.\n\nTo accomplish some sense of perspective, a variable equalizer automatically is cut into the audio circuits when the longshot camera is on the air. When a closeup camera is switched on.\nContinuity is carefully planned so that one camera takes the action while another camera moves to a new location and composes a new shot to be switched on at the proper time. This frees the first camera, which can then move to a third location, and so on. Sometimes during a 20-minute performance, each camera may take 20 different shots. Frequently, there are outdoor scenes. These are filmed during the first stages of rehearsal for transmission from the film studio at the proper time during the performance. The switch to film is handled exactly as another camera switch, except that the switch is to the film studio instead of to one of the live studio cameras. When the film is completed, the studio cameras take over the next interior scene.\nWhat is probably the first detailed discussion of methods and equipment used in television lighting was given by William C. Eddy of the National Broadcasting Company in his paper on \"Television Lighting.\" Some of the more important statements in this paper follow.\n\nStarting with studio lighting equipment similar to that used in moving pictures, we have gradually evolved a reasonably satisfactory solution to our illumination problem, which has resulted in a new layout of equipment applicable to the demands imposed by television studio operation.\n\nOf necessity, the light produced had to be a high level diffused illumination in quantities encountered only in color film studios. In addition, television required that the operation, upkeep, and maneuvering of this light be of such simplicity that one or two men could satisfactorily handle routine procedures.\nWe turned to standardized fixtures in moving picture lots for our first tests. In the Radio City Studio, we installed routine spots and broads. Due to the limitation of a 19-foot ceiling, a practical light bridge was out of the question. As a substitute, the major portion of our lighting equipment was installed on portable stands.\n\nOur next step was a gradual conversion from the concentrated type of unit to the more diffused and uniform light produced by scoop reflectors and floor broads. Focusing spots and suns were still maintained in the studio, but their function was limited to modeling rather than producing the fundamental illumination.\n\nImpracticability proved:\n\nLack of physical space for operation, weight, and their general inefficiency, coupled with unbearable glare on the set soon proved their impracticability.\nThe unattended high efficiency lamps met the production staff's requirements. Our next experimental step for a television lighting system involved installing a battery of 120 500-watt units, each with separate reflector and lens systems. These lights were arranged on a gridiron over a single set to create a cube of uniform, non-directional illumination. It was hoped this would approximate the character and modeling under high intensity diffused light.\n\nThe resulting picture showed the effect of flat front lighting. Spots and suns were brought out of storage and put into operation as modeling units to create highlights and shade above the 1500 foot-candles pedestal, which had been destroyed by the lighting.\nThe basic arrangement of the foundation for the light installation.\n\n\"Photometric tests conducted in the studio had indicated that the new inside-silvered spotlight would deliver more light into an area per watt consumption than the lens lamp and reflector assembly or the standard incandescent bulb and exterior scoop.\n\n\"It remained to design a fixture that would permit of simple adjustment in elevation and direction to satisfy the requirements of multi-set productions proposed by the program staff.\n\nLight Beams Interlock\n\n\"This incorporates six 500-watt spotlights in a framework of thin-walled steel tubing so arranged that the center-to-center distance between lights is 10 inches. This ensures that the light beams interlock at a distance of 8 feet from the fixture and that the light arriving in the set is relatively free\"\nThe total weight of this fixture, equipped with spots, is slightly less than 19 lbs., and lamped for 3 kw. produces an index of 18,000 units compared to an index of 7650 units registered by an equivalent grouping of lens, lamp, and reflector units.\n\nThe mechanical arrangement for flexibility consists of a universal clamp for attaching the supporting arm to the gridiron, with rotational freedom possible at the fixture itself. A single adjusting screw allows the operator to set the bank for any desired angle or direction of throw with the framework arranged either horizontally or in a vertical position relative to the studio floor.\n\nThe first of the standardized installations consisted of 18 of these 'single-six' units mounted on the gridiron in such a manner that they could quickly and easily be brought into play on any.\nThe acting area is chosen by the production group. As a space-saving measure, a few of these long units were reassembled in two rows of three and labeled as 'double-threes.'\n\nThis type of construction was later installed in portable stands for use as floor broads. The 'single-three,' identical to one-half of the 'single-six,' was next brought into use.\n\nThe floor broad already referred to is identical with the overhead array, except it is mounted on a portable floor stand. Two of these units are used normally as reinforcing units from stage right and left to create a rough modeling angle or to temper the shadows on the backdrops.\n\nOur modeling equipment is completed by the addition of two other units: the portable footlight and the hand lamp. This floor light, working with and ahead of the close-up camera, is maneuvered to properly highlight the scene.\nSubject from this camera angle. Selecting the Best Camera \"It is impossible, of course, to light each shot of each camera from the optimal angle in a studio where the duration of pick-up from a single camera sometimes lasts only seconds. \"We have therefore made it a practice to work toward the camera that best displays our wares, ensuring that the foundation lighting over the set is arranged to supply satisfactory illumination for the other cameras. \"We do not attempt to approach the contrasts common on the stage or in moving pictures. In television, we are confronted with a highly compressed contrast range that permits modeling, but also holds as a penalty a washout or complete black. \"This has not restricted the use of modeling light. The trend, on the other hand, is toward the greatest contrast.\nOur failure to mention backlighting does not mean we have overlooked its possibilities. On studio sets, we have not yet reached a reasonable system for backlighting that meets all requirements of flexibility, weight, and operation.\n\nThere have been many statements and conjectures regarding the light used in television studios. We provide relevant figures based on our last six-month period of operation. Our modeling ratio averaged 2 to 1, while the average light-load was slightly over 50 kw. of 110-volt DC. Our lowest foundation lighting level was 800 foot-candles, in a play with high contrast throughout. The highest foot-candle reading recorded.\nThe key-light level in modern studio cinematography averages between 50 and 200 foot-candles, depending on the scene and the cinematographer's methods. In contrast, the continuity in the discussed paper had a light level slightly over 2500 foot-candles, with little effort made to modify it. Hollywood cinematographers and lighting engineers noted this fact during the following discussion. In modern television, due to the sensitivity characteristics, physical size, and small apertures used to obtain focal depth in present iconoscopes, the key-light level is significantly lower than in the past. Everyone who has seen a cartoon movie has wondered how such lively action can be created from a series of drawings.\nHollywood visitors have attempted, without much success, to crash the studio gates to see cartoon movies being made. The veil of mystery is lifted by Lowell Thomas in the Universal 16mm film \"Cartoonland Mysteries,\" available for rental from the Bell & Howell Film-osound Library. In this film, the making of an Oswald Rabbit cartoon \"Softball Game\" is explained in an interesting and hilarious way.\n\nFor information, write to Films Division, Bell & Howell Company, 1801 Larchmont Avenue, Chicago.\n\nCartoon production requires at least ten times as much light as motion picture photography. Television expert Lubcke shared an instance in the local Don Lee studio where a lighting overload blew the fuses controlling the lighting during production, leaving only a single 500-watt lamp burning on a different circuit in the studio.\nUnder these conditions, he stated that while definition was of course destroyed, a recognizable outline or silhouette of the image was nonetheless picked up by the television camera and telecast.\n\nOne of the most important papers of the convention was that presented by Allen B. Dumont of the Allen B. DuMont Laboratories, the television firm in which Paramount studio had become financially interested.\n\nDumont pointed out that since the inception of radio broadcasting, enormous strides have been made in sound quality. Yet, the earliest crystal-type receiver is still capable of receiving an intelligible signal from even the latest ultra-high-fidelity broadcast.\n\nThis, he stated, was not the case in the present planned television standards, in which the control of picture frequency, number of scanning lines, and other specifications were rigidly defined.\nAnd other vital factors are built integrally into the receiver. Dumont stated, \"It is obvious, therefore, that at some future date our present-day so-called high-definition television will compare only with the crystal detector, headphone days of radio. At that time, however, there will be a tremendous investment by the public in television receiving equipment, and the obsolescence of such an investment will not be cordially received. \"It is necessary, however, that such changes take place, and the problem of the present-day engineer is to design his receiving equipment in anticipation of such changes.\" In answer to his own criticism, Dumont suggested that the design of television receivers be standardized in such a way that control of picture-frequency, scanning, and other quality-affecting phases be controlled, not by the basic circuitry but by separate units.\nThe receiver's design relies on synchronizing signals transmitted with the picture from the telecasting station. The Dumont television receiver in the Hollywood Television Society's exhibit provided excellent proof of this. Designed to receive the 440-line scanning of NBC telecasts in the New York area, it had to be specially adapted, with limited success, to receive the 330-line images of the local station. With one or two other local stations contemplated, each built to different systems, Hollywood residents should soon have an opportunity to test Dumont's thesis. A receiver built to accept images of one television system will receive those sent by other systems poorly, if at all.\n\nJune, 1939 \u2022 American Cinematographer 257\nTriple Success.\nThree good reasons why Eastman's three new films enjoy continued success:\n1. The outstanding special features they bring to their particular jobs.\n2. The unsurpassed photographic quality they impart to every scene.\n3. The priceless assurance of reliability they give to the whole motion picture industry.\nEastman Kodak Company, Rochester, N.Y. (J.E. Brulatour, Inc., Distributors, Fort Lee, Chicago, Hollywood.)\n\nEastman PLUS-X SUPER-XX for general studio use for all difficult shots\nBACKGROUND-X for backgrounds and general exterior work\n\nA new and improved wild cine-motor has just been developed that should be an innovation to all cinematographers. It is small, compact, and complete in every detail. Nothing has been overlooked.\n\nHeretofore, the wild motors that have been used:\n\nA new and improved wild cinemotor has been developed, which should be an innovation for all cinematographers. It is small, compact, and complete in every detail, with nothing overlooked.\nThis new motor is a constant speed cinemotor of universal type, employing a new and radical design for governing the driving member. The governor is unique in type \u2013 it is positive and supersensitive.\n\nIt is a lightweight motor, weighing only 6 pounds 4 ounces complete. This includes the tachometer nose piece adapted for any standard makes of professional motion picture cameras but not the cables.\n\nThe motor addresses previous issues experienced by cinematographers worldwide. Previous models lacked sufficient voltage range, insufficient spare power, a clutch that did not work smoothly enough, a worn rheostat, a large and bulky tachometer (if equipped), and equal weight to a synchronous motor.\n\nThis motor is extremely lightweight despite its sturdy construction. It is a constant speed cinemotor with a unique and sensitive governor design.\nThe principle employed in the camera operation is the governing of the camera driver, enabling the motor to run wild and transfer motor power to the camera via a slipping clutch. The difference in ratio between the motor speed and the camera speed is taken up by the clutch slip and calculated to prevent the motor from assuming the full load. The governing mechanism is situated on the camera end of the driving member.\n\nWhen set for a determined speed, the clutch coupling varies in slippage relative to the camera load, meaning that the camera load variations are accepted by the governor, which in turn alters the clutch tightness. This construction ensures the cinematographer of a most constant camera speed at all times.\n\nThe speed regulator is very large.\nThe tachometer is easily accessible and extremely sensitive. It is small and built into the motor, adjustable according to the motor's position on the camera. The tachometer will operate both forward and backward.\n\nThe motor is durable and capable of taking high voltage for relatively long periods of time without burning out. All windings are cured in bakelite to ensure long life and hard wear under all temperatures and conditions. Although small - only a one-twentieth horsepower motor is used - it has sufficient strength to drive any camera at various speeds in any temperature.\n\nThe motor will run forward or reverse without difference in speed, this being accomplished through helical gearing. The size of the motor and the construction principle of the clutch combined minimize the drain on batteries.\n\nThe motor is durable and capable of taking high voltage for extended periods without burning out. All windings are encased in bakelite for long life and durability under all conditions. Despite its small size - only a one-twentieth horsepower motor is used - it has enough power to drive any camera at various speeds in any temperature.\n\nThe motor runs equally well in both forward and reverse directions, achieved through helical gearing. The motor's size and the clutch's design minimize battery drain.\nThe batteries last from 25 to 40 percent longer than with other types of driving principles. The driving gears are made of a new material, a linen base bakelite impregnated with graphite. This material, when made into a gear, can be run dry for years without damage. The gear that meshes with the one made of the new composition is steel, and tests have shown that after considerable use, the steel does not wear out.\n\nThe Badgley Cinemotor is mounted vertically on an Akeley camera. In this position, the friction clutch is most accessible. However, for balance, the motor may be changed to suit the cinematographer. The clutch adjustment is large enough to be handled in any position. The AC-DC switch is located.\nThe tachometer is located next to the switch box, near the forward and reverse switches. (American Cinematographer, June 1939)\n\nThe gear assumed a very high polish, almost mirror-like, after which there was no further wearing of either gear. The material used in the friction clutch is of special composition, which withstands wear and tear for years without replacing.\n\nAll main motor bearings are anti-friction graphite bronze, supplied with continuous oiling through felt wicks. Very little oiling is necessary, ensuring the cinematographer of best performance with the least amount of trouble or care. The motor is supplied with nose pieces for adaptation to any standard camera make, such as Debrie, Bell and Howell, Akeley and Mitchell.\n\nIf a cinematographer carries more than one camera with him and each is of different make, the same motor can be used.\nThe interchangeable nose pieces on the camera can be adjusted by removing a few screws. The motor's position can be changed to suit cinematographers' preferences by altering the position of a dog on the nose piece. Similarly, the tachometer can be positioned accordingly by loosening one screw and twisting it in the motor block. Custom nose pieces can be ordered. All nose pieces are made from rolled dural stock for maximum strength. The cables consist of a ten-foot main cable and a four-foot operating cable connected to a junction box with two switches: one for AC or DC current and the other for forward or reverse. G. J. Badgley of Washington, D.C., manufactures the motor, who has extensive experience in the industry.\nThe construction of apparatus for the motion picture business. In 1909, he first developed the friction clutch principle used in this motor and applied it to a projector. Later, in 1917, he applied it to a camera and now employs it in an improved status in a wild cinemotor after extensive tests. It represents much experience gained throughout the many years of experimentation.\n\nThis writer obtained one of the motors that Mr. Badgley first built and took it into Northern Vermont during the latter part of this past winter. There, he found it to be very practical under all weather conditions. Its performance was:\n\nThe Badgley Cinemotor mounted horizontally on an Akeley camera. The large knurled knob just above the tachometer is for turning the camera and motor by hand. Note the forward and reverse switch is easily accessible.\nThe new motion picture financing company, Cine Finance and Banking Corporation of India, Limited, in India proposes to send a British representative to the United States to study the American motion picture industry and contact American producers of motion picture equipment. The company will also seek American technical cooperation for its projects through this visit. The new Indian company has an authorized capital of $3,480,000 and an ambitious program for financing and servicing the motion picture industry in India. No direct competition with existing companies.\nThe new company contemplates organizing independent companies to handle the motion picture industry's problems in production, distribution, publicity, equipment purchases, effecting insurance, and training technicians. The gross income of India's motion picture industry was estimated to be there, according to the report, 996 motion picture theaters, 500 touring cinemas, 75 active film companies producing 200 features annually, and 253 distributors handling Indian and imported pictures.\n\nLa Casa Movie Makers\nOver a hundred members and guests attended the April meeting of La Casa Movie Makers of Alhambra. The feature of the evening was the awarding of prizes for the spring uncut film contest.\n\nThe winners were: \"Yellowstone National Park,\" in color, by Mr.\nRitter, first prize, 16mm: \"Yosemite National Park,\" by Mr. Moore\nMr. Moore, second prize, 16mm: \"Easter Pictures,\" in color, by Mr. Gaylord\nMr. Gaylord, first prize, 8mm: \"Skiing,\" in black and white, by Mr. Winchester\nMr. Korns gave a timely talk on \"Photographing Wild Flowers\" with color stills.\nMiss Turnbull showed some interesting shots of England from her recent trip abroad.\nIn the May meeting, Mr. Battles will show his feature film, \"Our Glorious West.\"\nThis three reel film was made on a recent visit to fourteen of our Western national parks and is filmed entirely in Kodachrome.\nR. A. Battles, Publicity Chairman. Establishes Color Department.\nComplete and separate Color Department in its store. It will have in its department two color experts who will be glad to answer questions regarding the use of all types of color material in a camera. They can offer movie, still transparencies, and color print service by any of the standard available methods.\n\nFarciot Edouart of Paramount Studios has been appointed to represent the Research Council of the Academy on the \u201cSectional Committee on Motion Pictures\u201d of the American Standards Association.\n\nBetter light brings better patronage. Theater patrons repay improved quality of projection by increased attendance. One theater manager reports one third more patronage since adopting high intensity projection. This benefits the studio as well as the theater.\n\nThe studio can also profit from favorable patronage.\nable response to the improved quality of production which results from the use of carbon arc lighting on the set.\n\nNational Carbon Company, Inc.\n\"Theater Ul\" and \"apron and pain\" ran the programs. ...winitiot- factor \"n-taUed mot\" e thousands a wvn\\. C. Corporation ESDlVI\"Stre,t,^'f-k^\u201eUC bs:\not Uru\u00b0\" carbon 0 ou\n\nDocumentary Film. By Paul Rotha. New York: W. W. Norton & Company, Inc., 70 Fifth Avenue, publishers. Printed in Great Britain. Pp. 320, 91 Illustrations. $3.75.\n\nTo the constantly growing throng interested in documentary film, here is a book for the library table. It is written by an Englishman, one of the founders of the active British group of documentalists, and it was printed in Great Britain. Yet \u201cDocumentary Film\u201d by Paul Rotha.\nIn seeking \"the first serious deviation from the box office formula,\" Pathe is cited as the foundation of the motion picture industry's division that has only begun to tap into its potential power. In 1920, Pathe created a stir in the theatrical world by distributing \"Nanook of the North,\" a non-theatrical entertainment of the most perfect example. It was the story of an Esquimo family fighting for survival in the bleak North, battling for food and shelter. Robert Flaherty's new-fangled picture struck the ground from under the feet of many successful motion picture men in their insistence that if you gave the public any screen show without a love story in it, it would be exhibited to empty seats.\n\nIt was the recent American nationwide success of Pare Lorentz's government-made \"The Plow that Broke the Plains\" that further challenged this notion.\nThe publisher's announcement on the jacket of the book refers to \"Plains\" and \"The River,\" declaring that these pictures brought a new awareness of an entirely new art form in America, distinct from \"story\" films and based on a new conception of movies in modern life. Wide interest in documentary film has been created in the United States with the success of these films and the regular issues of \"The March of Time.\" Paul Rotha, one of the founders of the group behind documentary film and a foremost maker, writes in the foreword. John Grierson, with wide experience in documentary making, contributes a meaty preface to \"The Documentary.\"\nThe use of the radio and film, he writes, \"we saw new ways of educating public opinion in a democracy. They were dramatic and popular media. They had within them the magical powers of comprehension we sought. \"They were capable of establishing a continuing living contact between the individual and the vast drama of giant forces in which he too inconsequentially wandered. ... It is possible that we have been beaten by events, and the giant forces, for lack of comprehension, have got out of hand. Today the stage is given over to a drama of religious manias \u2014 of fascism and communism and saving the world for this and that \u2014 and there is little respite for public education as such. \"The documentary film must pursue, in the deepest sense, the way of education, and long-distance education at that, or it loses its special claim to consideration.\nThe Air Corps sends officer to Hollywood for lab experience. Chester L. Tobias, superintendent of the laboratory of the motion picture division of the United States Army Air Corps, Wright Field, Dayton, Ohio, arrived in Hollywood last week in May to commence a sixty-day course of training in motion picture laboratory procedure under the auspices of the Research Council of the Academy of Motion Picture Arts and Sciences. This short course of training in laboratory work was undertaken by the council at the request of Major General H. H. Arnold, chief of the air corps, and is an extension of the War Department-Research Council cooperative officer training program under which selected Signal Corps officers are trained.\nCaptain Dwight L. Mulkey of the Signal Corps is in Hollywood studying all phases of motion picture production, along with the author. The author's aim is to convey something of the social and economic basis upon which a certain method of film making - \"documentary\" - is being built to fulfill certain purposes at this moment of political apprehension and social disintegration. He disavows any thought to decry or limit the functions of the cinema as entertainment. But he insists that the story-film is only one kind of film. He submits \"that the technical and cultural achievements of the cinema of the future are more likely to come from the documentary genre.\"\nThe documentary and journalistic film industry owes more to the studios of industry and government than to educators. Mr. Rotha stresses the significance of this fact, stating that it is primarily industrialists and government officials, not educators, who are enabling the development of cultural films by providing essential production means. He continues, \"Documentary, which appears to serve the needs of propaganda or, if you prefer, furthering the aim of public relations, is simultaneously fulfilling a definite instructional purpose. This aspect of education and propaganda is worth considerable contemplation.\" The author illustrates the expansion of documentary film in Britain by citing the growth of the original E.M.B. unit.\nFrom one small cutting room in a back room to six production units, with an advisory body and a documentary film workers' association, comprising over fifty members.\n\nAt a time when there are over 8000 film workers unemployed, there is a big schedule of documentary films for the present year. In New York City, there is now an American Film Centre working in relation to the parallel body in London. Also on the western side of the Atlantic, several film units are seriously tackling the problem of maintaining a continuity of documentary production.\n\nIn the introduction to \"Cinema,\" chapters are devoted to Social Aspects, Economic Basis and Commercial Development, Propaganda, Film as an Art, and Documentary. In the evolution of Documentary, four traditions are cited:\nNaturalist, Romantic, Realist, and Propagandist. The latter section is divided between the Soviet, British, German, and Italian. Chapters are given to the Documentary in the Making, i.e., the functions of the producer and the director. Much space is devoted to the visual, sound, and treatment. American Cinematographer \u2022 June, 1939\n\nFamous in statecraft, oratory, and photography - Julien Bryan\n\nI am often asked to explain how I do my candid-camera work under difficult conditions in foreign countries \u2013 to \u201creveal\u201d what tricks or special equipment I use. In fact, I have no tricks or unusual gadgets. I carry fewer accessories than many amateurs, perhaps fewer than any other professional movie-maker. A few simple tools are adequate.\nToo many would put needless technical preoccupations between me and the simple human stories I wish to tell. To my mind, the prime requirement for taking interesting pictures is a purpose. Arty pictures are too often a mere consolation for aimlessness. The amateur should remember that he does not see the professional's average work, but only his best. In covering seven large countries of Europe and Asia, I have taken nearly half a million feet of motion pictures and more than 30,000 Leica negatives.\n\nTheme: People\n\nThese are only the crude raw materials from which, after weeks of pruning and editing, I have left the few thousand feet of film I show with my lectures. Not many amateurs are ruthless enough in leaving out all but the best of their pictures.\n\nSince my theme is people, before I visit an obscure mountain tribe or an unfamiliar city, I always make it a point to learn something about its people, their customs, their traditions, and their way of life. I believe that the most interesting and meaningful pictures are those which portray the human spirit, the human condition, and the human experience. And in order to capture these moments, one must be sensitive to the nuances of human emotion and behavior.\n\nTherefore, I approach each new subject with an open mind and a willingness to learn. I try to put myself in the shoes of the people I photograph, to see the world through their eyes, and to understand their perspective. I believe that this approach allows me to connect with my subjects on a deeper level, and to create images that are not only visually appealing, but also emotionally resonant.\n\nMoreover, I believe that the best pictures are not just technical feats, but also expressions of the photographer's vision and creativity. Therefore, I strive to develop my own unique style and aesthetic, and to use my camera as a tool to bring my vision to life. I believe that this approach allows me to create images that are not only technically sound, but also artistically significant.\n\nIn conclusion, I believe that the key to taking great pictures is to approach the subject with a clear purpose, a sensitive and empathetic attitude, and a creative vision. By doing so, one can capture the essence of the human spirit and create images that are not only visually appealing, but also emotionally resonant and artistically significant.\nI study the people of a great modern nation, focusing on their historical background and customs. Above all, I aim to understand what they consider good manners. Unobtrusiveness is key to successful candid-camera pictures, no matter the subjects - be they statesmen, peasants, or children.\n\nDuring my longest expeditions, I bring three Eyemo motion picture cameras from Bell & Howell Company of Chicago, each with 100-foot magazines. Two are always ready for use, while the third is stored in reserve.\n\nI carry two tripods: a Bell & Howell Special and a lightweight model suitable for both motion pictures and time exposures with the Leica. I only bring four lenses, all Taylor-Hobson, used only for extremely bad light.\nI have selected the Eyemo motion picture camera because it combines minimum size and weight with maximum precision, withstands hard knocks, and can quickly be removed from the tripod for candid closeups. Though most of my footage in recent years has been shot from tripods, footage taken on the run with my Eyemos contains many of my most prized documentary scenes. They never could have been obtained if the outfit had been more cumbersome.\n\nTelephoto Seldom Used\nThe use of the telephoto lens (i.e., photography through a telescope) is an accepted practice among explorers; but I use the 150mm lens only when obstructions prevent my approaching the subject. Ninety-nine percent of my closeups were made really close to the persons, often within three or four feet. With this method, of course, you must be on cordial terms with the people you are photographing.\nHalf-wild tribesmen must sincerely trust the stranger before they permit him to hold up to their faces a weird whirring machine that stares at them with unblinking eyes. I have spent days living with them.\n\nJune, 1939 \u2022 American Cinematographer 263-265\n\nFront view of Fonda 16mm. developer showing dry box and blower equipment\n\nFONDA 16mm. DEVELOPER\nNOW READY FOR MARKET\n\nThis magazine in February last printed pictures of the 35mm. developer manufactured by the Fonda Machinery Company of 8928 Santa Monica boulevard, Los Angeles. On this page, we are printing a picture of the firm's 16mm. developer, a reproduction of the machine as it stands on the scene.\nThe factory floor of the company houses this equipment. For the past three months, a duplicate of this equipment has been in operation at Modern Movies, Inc., located at 6018 Fountain avenue, Hollywood. Its success there has yet to be marred by a live film break.\n\nThis outcome vindicates the accuracy of the Fonda company's new driving principle. This new principle is frictional. The film passes through the tanks and dry box with a soft, even tension which cannot be relaxed or increased. This tension is adjustable by increasing or decreasing the tension of stainless steel springs, and once adjusted, these springs do not need to be changed again.\n\nThe machines handle scored 16mm stock as effectively as plain stock. In practice, it has been demonstrated that at the same cost, two and three-quarters times more work can be processed through this equipment.\nThe company has achieved great simplicity of design and materially reduced maintenance costs with its equipment, including the 16mm developer. The 16mm developer is economical in its area requirements, as the machine is accommodated in a space of 6 by 10 feet.\n\nEastman Adds Conveniences to Its Kodascopes EE and G\n\nNumerous features have been added to the Kodascopes EE and G to make the operation of these two 16mm projectors even more convenient, Eastman Kodak announces. An improved hinged film gate makes threading and cleaning easier. A convenient lamp adjustment simplifies centering of the lamp in relation to the optical system. A new finger-tip control assists accurate framing. A carrying handle is provided at the top of the projector, making for convenient transportation. And a new design includes a safety interlock for the film gate.\nThe heavy duty motor in each projector provides ample reserve power to compensate for voltage drops during peak loads. The Kodascope EE, Series II, including a 2-inch f.2.5 lens, one 400-foot reel, oiling and splicing outfits, but no lamp, retails for $53. The Kodascope G, Series II, including a 2-inch f.1.6 lens, one 400-foot reel, oiling and splicing outfits, but no lamp, retails for $118.\n\nNew York 8mm Club\n\nThe April meeting of the New York 8mm Club was featured by a film made at the Ice Follies at Madison Square Garden by Member Newton on Superpan Film. The effects secured led the members to hope that this fast film would soon be made available for general amateur use.\n\nOther films included Mr. George Baer\u2019s \u201cSpring Fever,\u201d an exchange from Washington, and Randolph Clardy\u2019s \u201cVida Pacoime,\u201d shown through the courtesy of the American Cinematographer.\nCentral Issues Catalogue\nThe Central Camera Company of 230 South Wabash avenue, Chicago, has issued a 64-page catalogue of closely packed matter printed on 6 x 0 inches.\n\n266 American Cinematographer \u2022 June, 1939\n\nMaking The Roar! And How!\nBy RICHARD H. LYFORD\n\nMixing music with dialogue for \u201cRitual of the Dead\u201d - An Amateur's Experiences\n\nLet's turn back the clock \u2014 a decade and more. In a private home, a small group gathers with enthusiasm and curiosity. Their host has asked them to see some of his home movies! They see shots of his family parading in the back yard. They shout with laughter as they recognize one of their friends making faces at the camera.\n\nBut today, it is a common thing to ask your friend to run off his latest beach pictures and in turn invite him to see your new National Park film. The idea of taking your own movies \u2014\nKeeping a photographic record of your children, friends, vacation trips has spread in leaps and bounds. However, today's enthusiastic amateur is becoming discontented with just \"shooting things that happen to be there.\" He wants to be creative. He is in constant search for new locations, situations, ideas to capture with his lens. He is extremely interested in shooting a scenario picture. When his film comes back from development, if he doesn't have his own laboratory, he turns to his editing board, striving to make his splices spell continuity. He wants the proper cutting, consistent exposure, artistic titles\u2014 a self-explanatory film that would interest any visitor no matter what the subject might be. But above all, he has a burning desire to have his picture accompanied by sound!\n\nBy purchasing or building your own dual turntable sound system and selecting the appropriate records, you can add a new dimension to your home movies. The sound will bring the scenes to life, adding depth and emotion to your visual storytelling. Imagine the excitement of hearing the roar of the crowd as you relive your child's first baseball game or the soothing sounds of waves crashing on the shore during your beach vacation. With the addition of sound, your home movies will become a truly immersive experience.\nThe proper semi-classical and symphonic music fits various film moods, making them smoother and more entertaining. The next step is creating your own \"talkies.\" My first experience with sound and \"talkies\" was in 1933. R.H.L.- National Picture Company of Seattle was about to start \"The Sea Devil\" - its third epic, a feature-length film, \"all talking\"! I had the idea of filming a World War story after reading Count von Luckner\u2019s popular book, but by the time I completed the script, the two stories were as different as day and night.\n\nCount von Luckner, The Sea Devil, was a clever, cheerful German naval officer who sailed the seven seas in a secretly fortified sailing ship disguised as an old Norwegian square-rigger. He made it a point to sink only enemy ships.\nHe would identify and cripple enemy ships, ordering their crews to abandon ship before sinking them. By this method, he achieved an amazing record of not killing anyone during the World War.\n\nCount von Richter, portrayed by myself as The Sea Devil (Lyford version), was not satisfied with an old wooden ship. He used a racing submarine and caused chaos in every cubic foot of the North Sea.\n\nWith beads of sweat dripping from his brow, his eye glued to the periscope, he scanned the horizon for prey. Approaching an enemy ship, he didn't give the crew time to discover how cold the water was. They were usually blown skyward, taking only the keel with them.\n\nHowever, he eventually encountered his Waterloo\u2014in the burning hold of a ship\u2014with a [unknown] end.\nA sabre jammed in his ribs. Gasping for breath and writhing on the floor, he fought for life. Not a life of insane plundering, of human butchery, but a desire to see once more his almost forgotten companion \u2013 his young, attractive wife. As she was baking a cake to celebrate his arrival home, he sank with his ship \u2013 her picture crushed to his scarlet breast.\n\nThis type of picture called for one thing in particular \u2013 sound, and plenty of it! My first step was to purchase an obsolete DeVry 16 mm. disk-sound projector and an old George Givot musical review. I ran the film again and again, and, the synchronization being perfect, I was thoroughly satisfied and decided that was the system I would use.\n\nMy next intention was to connect my Eastman Model B camera, by means of a flexible shaft, to a turntable, with a cutting head, etc., and drive both units simultaneously.\nWith one synchronous motor. Each scene was to be cut on acetate as they were filmed \u2013 then timed and redubbed with musical score and added sound effects on a master disk. I anticipated the finished production to consist of five 400 foot reels filmed at 16 frames a second and five 16 inch acetates recorded at 33 1/3 rpm. But the unexpected cost of my disk-sound projector, plus what it would cost for more necessary equipment, brought about one conclusion. I could either have sound with no picture \u2013 or the picture minus the sound. I chose the latter, deciding to shoot the picture silent \u2013 then dub the dialogue in later when I could afford the proper equipment.\n\nTwo years later, \u201cThe Sea Devil,\u201d three-quarters complete, was accumulating dust on a shelf. My sound system was still \u2013 \u201cjust a dream.\u201d\nI have cleaned the text as follows:\n\nfilmed several other short photoplays, one a semi-feature. I had to be satisfied with written dialogue and for sound just a musical score played on a dual turntable setup. Since 1924 my little basement theatre had built up quite a reputation in the neighborhood. Our shows had climbed up from one performance only, to an average four-week run, three nights a week, in order to handle the spectators. I decided several times to cut up \u201cThe Sea Devil,\u201d add titles and run it as a \u201csilent.\u201d But since 1933 our growing number of customers had been reading signs hung in the \u201clobby\u201d \u2013 \u201cComing Soon. The First All Talking R.H.L.-National Production. A Thrilling Epic of Submarine Warfare on the High Seas! \u2018The Sea Devil.\u2019 Battle Scenes Galore! Don\u2019t Miss It!\u201d In the latter part of 1936 we finished shooting the final scene for our war epic.\nIt was complete, but \"silent.\" Two weeks later, the theater was sold out for the opening premier of the biggest event in its history. I plastered colorful posters all over the walls. \"At Last \u2014 It's Here!! Tonight! Four Years in the Making. 'The Sea Devil.' Feature Length \u2014 A Talking Picture!\" The audience came early. The theater was packed with sixty-seven curious people. \"I bet the sound is scratchy.\" \"I wonder how Barbara's voice records\" (referring to Miss Berg, the leading woman). \"I'll bet the voices don't keep up with the characters. Ha, ha.\"\n\nWhat a noise!\n\nAt 8:15, after opening the program with a Seattle Shrine Convention picture which I had filmed in color the summer before, the footlights dimmed, the audience quieted down. As the curtain slowly parted, a dark underwater scene of a fleet of U-boats, like shadows in the depths, unfolded before their eyes.\nFor an hour and five minutes, the audience experienced \"The Sea Devil\" film, as ghosts slipped past the screen. A sudden burst of Wagner's \"Ride of the Valkyries\" played from the speaker as the title appeared. The audience heard the hum of Diesel motors, the \"woosh\" of torpedoes, commands being shouted, planes driving, struts and wires screeching, machine guns rat-tat-tat-ing, shrapnel cracking, depth bombs rumbling, wind whistling, and cannons roaring.\n\nWhen Von Richter and his wife appeared together, the voices were softly accompanied by the beautiful strains of Sibelius's \"Finlandia.\" When Von Richter coughed and choked to death toward the end of the film, Liszt's \"Les Preludes\" filled the air. Everything was perfectly in sync. The only complaints were that there was too much sound.\nAfter the show, several friends asked me about the sound projector I used. Pondering a moment, I replied that it was custom-built. Personally, \"The Sea Devil\" was a bit ahead of its time. It was too big an undertaking for the little experience we had gained. The continuity suffered badly in spots, and many scenes were extremely amateurish. However, a prophecy had been fulfilled. The picture was held over for five weeks. But few people ever knew the facts of what went on behind the steel garage door marked, \"Projection Booth. Keep Out!\"\n\nAbout the third week, a very good friend of mine, who had seen the film from the theatre side several times, finally talked his way into the sweat box to watch how the sound was operated.\n\nBy the time the show ended, he was a nervous wreck from trying not to burst in.\nFastened in front of the projection lens was a piece of plate glass, tilted at an angle to reflect the image backward onto a special \"dubbing screen\" in the booth, as well as allowing the film to be projected perfectly. Running along one end of the booth (which was the family garage) was a row of tables. At one end was the sound system\u2014amplifiers, mixing panel, three turntables and pick-ups. Down the line were piled records, hammers, glass, pipes, electric tanks, sheets of aluminum, sticks, boxes, bottles, barrels, oil drums, light switches, cable, extension plugs, wire, glasses of water, celophane, gadgets, and apparatus. A crystal microphone stood on a stand in front of the tables. The whole setup looked like a crackpot's paradise. Here's the real lowdown.\nDuring the show, the turntables were going all the time, playing numbers I had selected specifically for the various sequences. When the time came for a character to speak, he stepped up to the mic, watched the screen, and dubbed in the lines. I made airplane noises with my throat\u2014machine guns with my tongue\u2014wind and waves by whistling through my teeth.\n\nFor an hour and five minutes, we pounded hammers on pipes, banged sheets of aluminum, kicked oil drums, broke glass, clacked telegraph keys, turned on fans, electric motors, creaked orange boxes, and wrinkled celophane. The whole thing had to be rehearsed again and again. It was like making a broadcast or giving a stage play, only worse!\n\nIf one member of the cast got the hiccups\u2014well, needless to say?\n\nHowever, as far as the audience was concerned, they had witnessed the first performance.\nfeature length: 16 mm. talking picture, the first to be made on an amateur basis. Shortly afterward, my \"dream\" came true. \"Ritual of the Dead,\" a psychological crime film, was successfully recorded on acetate discs. It was really our second talking picture, but technically our first.\n\nThis film encouraged me to make two others, \"In Search of Adventure\" and our second feature length picture, \"As The Earth Turns,\" which both had musical scores and sound effects, but no spoken dialogue.\n\nBut \"Ritual of the Dead\" is by no means one of the few amateur sound films. Amateurs across the country are experimenting with their own recordings; Dr. Robert Loscher's \"Red Cloud Rides Again,\" a past A.S.C. contest winner, Herb Chrisler's \"The Bloomin' Mountain,\" and Randolph Clardy's new production all employ the use of acetates.\n\nYesterdays obsolete Vitaphone disk.\nThe idea of using arcs for lighting black-and-white pictures is not new. Over a dozen years ago, when panchromatic film was being introduced, the industry worked on a 100 percent arc basis. The \"inkies\" were developed largely as a result of the introduction of panchromatic film and came into general use because for most purposes, the warmer light of the Mazda globe gave better results with panchromatic materials. Ever since then, cinematographers have experimented with arcs and incandescent lamps in various combinations for black-and-white photography.\n\nCharles B. Lang, Jr., A.S.C.\nTo some extent, filmmakers have been making use of arc equipment for special lighting effects in monochrome films. This is natural, as there are some types of lighting for which the arc is the only really satisfactory tool. Where, for instance, we want the light to have a soft and not overly directional quality, the incandescent is by far the best, especially since its color coordinates well with the color-sensitivity of modern panchromatic emulsions, and modern makeup has been planned with this lighting in mind.\n\nWhen Arc Is Preferable\nBut for more strongly directional effects, such as when we want strongly defined shadows or very positive highlights to simulate direct sunlight, the arc is preferable. The light source of the inkie is relatively large, often several inches square.\n\nThe light source of a high-intensity arc lamp is much smaller and more focused, making it ideal for creating dramatic, highly defined lighting effects.\nArc light, on the other hand, is small and confined largely to the incandescent grater of the carbon, providing an approach as close as we can get to the theoretically ideal \"point-source\" of light. For at least a dozen years, cinematographers have mixed arcs and inkies based on the desired effects. However, the matter is not as simple as it might sound. In addition to the directional differences between arcs and inkies, we have differences in color. The Mazda is a fundamentally yellowish-white light. The arc is inherently bluish.\n\nThus, with film and make-up coordinated to the spectral distribution of Mazda lighting, the beam of an arc acts essentially like a blue filter upon everything upon which it falls, taking us back from panchromatic to orthochromatic rendition. Faces, especially, are affected: skin-tones appear differently under arc light.\nTextures assume an unnatural, muddy gray tone, while lips go too dark, a condition which cannot be tolerated where scenes made under different light sources must be intercut.\n\nOld Type Arcs Too Blue\n\nOver the past few years, significant development has taken place in arc lighting units. Much of this has been due to the demands of the Technicolor process, which, as is well known, requires lighting closely matched in color to normal daylight.\n\nThe old-type arcs were much too blue for this purpose. Many of them lacked steadiness and uniform light distribution within the beam. Therefore, improved arcs were developed for Technicolor use, much better both mechanically and optically, and engineered to give light more nearly matched to the daylight standard \u2014 in other words, to give less blue light.\nNone the less, for a perfect match with daylight, a blue-absorbing gelatin filter is needed for the high-intensity arc spotlights. At the same time, special auxiliary lens-systems, fitted with adjustable iris diaphragms, have been developed to aid in getting sharply defined spot effects with these lamps.\n\nWhen I was assigned to photograph Paramount\u2019s \u201cZaza,\u201d it was evident that I would have to use some of these units to simulate theatrical spotlighting in the several music-hall sequences. Yet I was by no means satisfied with the rendition an arc key-light would give me in close shots of my star.\n\nObviously, it would be necessary to filter the arcs to conform with the existing standards of film-sensitivity and make-up, already keyed to the Mazda standard. But how?\n\nTrial and error.\n\nOrdinary straw-colored filters were tested and proved inadequate. They did not absorb enough blue light.\nNot correct. Yellow and amber filters gave an unduly muddy effect and lightened skin textures too much. Finally, it occurred to me to inquire what Technicolor used for the purpose. It proved to be a special gelatin termed the \"Y-l\" filter. This showed definite promise; but a single \"Y-l\" did not eliminate quite enough of the bluish emission. Perhaps several would.\n\nFurther tests showed that this was the case. Using several of these gelatins over each arc employed, I found I could match the color of the light almost perfectly to that of the Mazdas lighting the rest of the scene, while at the same time retaining the \"sharp\" quality of the arc beam.\n\nActual production experience indicated that the best results come as a rule from using from two to four \"Y-l's\" on each arc.\nThe best individual close-up of Claudette Colbert in \"Zaza\" was lit with this combination of Mazdas for general lighting, and a modern, high-intensity arc, filtered with three \"Y-l\" gelatins, for the key light. It was the closing shot of the picture. It was a theatrical spotlight effect, and conditions necessitated the use of three cameras with lenses giving angles that ranged from a long shot to an extreme big-head close-up.\n\nWith this combination, I kept the desirable optical quality of the arc beam and at the same time obtained a pleasingly normal rendition of face and lip textures. Since then, I have found the combination of modern high-intensity arc spotlights and \"Y-l\" gelatins increasingly useful. In photographing \"Midnight,\" I employed this type of lighting quite extensively on exteriors, for both day and night effects.\nThey are excellent for creating natural-looking shadow effects when working in heavy shade, such as under trees. They can be matched so well with sunlight that they virtually bring the sunlight in under the trees. In this picture, there were several sequences - normal daylight effects as well as night shots - to be photographed outdoors on the \"Paris street\" of the back lot. They were scheduled during a period when the sun was, at best, uncertain; it might appear for twenty minutes and then hide behind a cloud for five hours.\n\nSun by Proxy\n\nRather than subject the company to these expensive delays waiting for natural light, I decided to film the sequences entirely by artificial light. Canvas covers were rigged above the set, and arcs were used to provide the necessary illumination.\n\nOfficers of the National Photographic Dealers' Association are shown.\nI visited the Ford Exposition at the New York World's Fair while attending the association's sixth annual convention in New York. From left to right are Percy Y. Howe, treasurer; Laurin P. Marlowe, vice president; Charles Bass, president; Henry W. Lawrence, secretary; and H. O. Bodine, executive secretary. Mr. Bodine and Mr. Howe are New Yorkers, Mr. Bass is from Chicago, Mr. Lawrence from Wichita, and Mr. Marlowe from Dallas.\n\nFiltered as necessary with \"Y-l's,\" the arcs were set to replace the sun. This enabled me to keep on shooting regardless of the natural light conditions, and in addition kept my source lighting constant for as long as I needed. By this method, we made several apparently sunlighted sequences when it was actually raining outside our covered set!\n\nThe degree of filtering on the arcs could be varied to give any effect desired.\nIn the colder beams, useful for night effects, contrast with the warm beams for normal effects. Unlike natural sunlight, the color of the light remains constant throughout the day. In my present picture, the melodramatic \"Cat and the Canary\" filters are useful once more, in both interior and exterior scenes, for creating the dramatic lighting effects suited to the action without sacrificing facial rendering.\n\nAs I mentioned at the beginning, there is nothing new about mixing arc and incandescent light in monochrome cinematography. However, I have been informed that little to no use has been made of filtering arcs to correct their spectrum.\n\nI have personally found it to expand the scope of monochrome arc lighting significantly, and I believe others may as well. With this in mind, I have tried\nThe modern movie maker has mastery over every movie opportunity with the two great 16 mm. films, Cine-Kodak Super-X and Cine-Kodak Super-XX. Super-X, primarily intended for outdoor work, offers unprecedented brilliance, fineness of grain, and beauty of tone quality. It boasts the same speed as the famous \"SS\" Pan. However, if speed is your priority, Super-XX is your film. Designed for work under artificial light, Super-XX functions remarkably well with minimal lighting. Overexposure is certain outdoors, even with small home movie camera lens apertures, unless a neutral density filter is used. (270 American Cinematographer, June 1939)\nThe density filter is fitted to the lens. Put a supply of each of these films in your movie kit. Rest assured, then, that you're in command of every filming opportunity that comes along.\n\nCine-Kodak Super-X and Cine-Kodak Super-XX are both available in all standard 16 mm lengths: 200-ft. rolls (from Rochester only), 100-ft. rolls, 50-ft. magazines, and 50-ft. rolls.\n\nEastman Kodak Company, Rochester, N. Y.\nJune, 1939 \u2022 American Cinematographer 271\n\nWhen\nBy James A. Sherlock\n\nThe purpose of this article is to help the intending buyer select the most suitable camera for his needs. Following are details of various silent cine cameras, ranging from the humble but efficient 8mm fixed focus single lens camera to the 16mm camera which is capable of photographing any subject equally as well as most standard silent cameras.\n\nFor the person who has not used a camera before, the 8mm fixed focus single lens camera is recommended. It is simple to use, portable, and relatively inexpensive. It is ideal for home use and for recording family events.\n\nThe 9.5mm camera is a more advanced model, offering interchangeable lenses and better image quality. It is suitable for more serious amateur filmmakers and for small commercial productions.\n\nThe 16mm camera is the professional's choice. It offers the highest image quality and the greatest flexibility. It is capable of producing films that can be shown in cinemas and on television. It is more expensive and more complex to use than the smaller cameras, but it is worth the investment for those who are serious about filmmaking.\n\nWhen choosing a camera, consider your budget, your experience level, and your intended use. If you are just starting out, an 8mm or 9.5mm camera may be the best option. If you are more experienced or have a larger budget, consider investing in a 16mm camera.\n\nCine-Kodak Super-X and Cine-Kodak Super-XX are both excellent choices for 16mm film. They are available in all standard lengths and offer excellent image quality. Eastman Kodak Company, based in Rochester, New York, is a reputable supplier of film and equipment for filmmakers.\n\nIn conclusion, when choosing a camera, consider your needs, your budget, and your experience level. With the right camera and the right film, you can capture memories and create works of art that will last a lifetime.\nA new or second-hand movie camera of good make with one high-grade lens, either fast or slow, is recommended for anyone. The market is limited only by the size of their pocket and enthusiasm. Cine cameras by well-known makers do not get outdated quickly, and used cameras can be recommended if purchased from a reputable dealer. If a second-hand camera has been bought without an instruction book, a letter to the makers will suffice to have one sent.\n\nThere's no \"best\" camera. Many times, the question has arisen: \"Which is the best camera?\" The answer to this query is easy. There is no \"best camera,\" but there might be a camera that would best suit the individual buyer. A study of the chart attached to this article might help.\n\n\"A 16mm. or 8mm.?\" is a harder question to answer. The 8mm. camera.\nThe camera has been developed to such an extent that almost every gadget found on larger cameras is incorporated. When 8 mm film is correctly exposed and a good high-powered projector is used, the pictures may be enlarged to 6 feet by 4 feet 6 inches, a much larger image than is required for the average home, but one that can be shown to about 200 people. Pictures larger than this are not recommended, but smaller pictures are almost equal to 16 mm in quality. The camera is less conspicuous to use and lighter to carry than its big brother.\n\nFurther limitations of the 8mm system are that sound cannot be added to the film. It is harder than 16mm to edit, also due to the tiny viewfinder. Picture composition is difficult and distant views shot with Kodachrome are to be avoided, if a large picture is to be produced.\nProjected. However, close-ups and medium close-ups with this film are excellent. Clardy Did It With 8mm.\n\nR. B. Clardy won the photographic award in the 1938 \"American Cinematographer\" Contest with an 8mm. Kodachrome film. William Stull, A.S.C., wrote of this cinematographer's film as follows \u2014 \"Enlarged frames from any of its scenes would be worthy of hanging in any of the world's great still camera salons.\"\n\nCongratulations, Mr. Clardy. This, and the two grand prizes you have won in earlier contests, prove to the world that this gauge of film is a serious rival to 16mm., and if handled by an artist is capable of producing pictures equal to the best.\n\nThere are 40 frames to the foot of 16mm. film and 80 frames of 8mm., which means that half the length of the smaller film projected at the same speed as 16mm., will take as long to project.\nShow. Consequently, 50 feet of 8mm film is equal in projection time to 100 feet of 16mm, and costs less than half.\n\nThreading: First Problem\n\nWhen the camera is decided on and purchased, the first difficulty is to master the correct method of threading the film. Each make of camera has a different system of loading, and a close study of your book of instructions will be necessary. With the exception of magazine loading cameras, every cinematography camera requires the film to be correctly seated in sprocket wheels and firmly held in claws which are placed near the gate of the camera.\n\nA loop in the film is found to be essential on either side of the camera gate. The film, in passing from the top spool to the take-up spool, passes the lens, and at this point is stationary while the exposure is being made. Thus, some play in the film is needed.\nUsing a strip of film and following the instruction book, a new movie maker will soon be adept at loading his camera and ready to shoot his first film. Making Comparisons\n\nThe chart was compiled for making comparisons between various cameras. The following descriptions of abbreviations should assist the beginner:\n\nWidth of Film Used: Only cameras for two sub-standard gauges are listed on this chart \u2013 8mm. and 16mm.\n\nSpeed of Lens Supplied: The speed of the lens is known by the largest aperture at which it can be actually used to transmit light to the film. The fastest one inch lens mentioned on the chart is F 1.4, the slowest F 3.5.\n\nOther Lenses Available: For some cameras, additional lenses can be purchased and are interchangeable. Others can only be used with the lens supplied.\nWhere the words \"Full Range\" appear, lenses of most focal lengths are available.\n\nVisual Critical Focus - This means that while your lens is seated in the camera, it is possible to look through it and focus for correct distances.\n\nAdjustable Shutter - This is handy for fade-ins, fade-outs, or dissolves. It will be noticed that only two cameras are so equipped.\n\nShutter Opening - Means the time the shutter is open to expose each frame. This varies from 1/25 of a second to 1/35 of a second when a speed of 16 frames per second is being used.\n\nMagazine Loading - Makes possible a quick change from one film to another in daylight. Film is loaded in magazines by the makers ready to place in the camera - hence the title \u201cMagazine Loading.\u201d An easy method, but not as efficient as the usual system.\n\nTurret Head - These cameras have two or more lenses mounted in front.\nof  the  camera  on  a  turret  which  per\u00ac \nmits  instant  change  from  one  lens  to \nanother.  Thus  a  long  shot  and  close- \nup  may  be  taken  from  one  camera  po\u00ac \nsition. \nFilm  Speed  Per  Second \u2014 The  aver\u00ac \nage  speed  for  a  silent  film  is  16  frames \nper  second.  For  sound  film  24  frames \nper  second.  Variations  from  these \n272  American  Cinematographer  \u2022  June,  1939 \ng>|s \no  ooooooo  S  \u00a78  S  osSscco'ooo \nz  zzzzzzz  f\u00bb  (*;*  (\u00bb  z^^Jiddzzz \noSSooooScoooooocoo  o \nZf-t-ZZZZ^ZZZZZZZ^ZZ  Z \nCM~ \nCM  CO  O  ^  CM  ti \nsd  cm' \nTf  CM  CM  CM \nSONNN \n\u25a0\u00a3>  Tf  CM  CM  CM  CM \n_  SO  COCOCOCO \n\u201e  CO  SO  1\u2014 ICM  CM  CM \n\u2014i  so  i\u2014t  so  CM  so  so  so \noSSooooSooooSooooo \nZ^-^ZZZZ^ZZZZ^ZZV'ZZ \nZ ZZZZZZZ g =ZZ  Z  ZZZ^ZJ-^-ZZ^ \nOOOCMCMCMCMO  CM  \u00ab0  \u00ab0  \u00bb0  f'-  P- \nCOCOCOCOCOCOCOCO  COCOCOCO  CM  CM \nCM  CM  CM  CM  CM  CM  CM  CM  CM  1-0  >0 \nco  co  co  co  co  co  eo  e \nm  s \njoocooocooocoooo  o  o  ooooooc*  8  ooStoooooSSooc \n;zzzz><zzz^2:z^zz  z  ss  zzzzzz^  ^ \nIfS \nif five lo N O >C O O- cs 'O CM\u2019t -Tf U3C50CCO\neo CM CO CM \u00ab\u2014 < CO I \"^f CM 1-H CM-^CMCM\nSil S\nesebeeeseesse gaseessBEBSsaessas\nOOOMCCOOOOOQOOOMOOXOOOOO\naaassas a aa\n0X00X0 OO C\u00a9 OOOO\neeesseesee\nESEEEaSEEE\nxooooooxxx\nc jiso-c\no iZ\no\no o\nE E\njC-O\njluE\nj^nWfOMWPP,Tr\nO o\n\nHand Crank \u2014 Every camera on the chart uses a spring motor. Only a few have hand cranks, which are mostly used to rewind film for fades, double exposures or dissolves. The spring motor is strong enough when fully wound to expose sufficient film for most scenes. But should a very long scene be required, the hand crank is used.\n\nReverse Action \u2014 If this is available, the film can be rewound in the camera.\n\nSingle Frame Release is necessary.\nFor animated titles or cartoons. The following hints might be useful, particularly to the beginner. No camera is better than its lens. Hasten slowly when loading the camera. Don't change a film in bright light. Run one foot of film before closing the camera to see that the loops are correct and that the film is seated as per instruction book. Keep the gate and interior of the camera free from dust. Watch the pressure plates. They sometimes collect emulsion from the film. To clean, use a wooden match. Use oil sparingly, if at all. Your dealer is the best man for this job. Your camera is a precision instrument. Treat it as such.\n\nLeica Entries Close Aug. 15\n\nThe closing date for the receipt of prints for the coming Leica exhibit has been set for August 15. This gives every photographer ample time in which to prepare and submit his photographs.\nThis show, recognized as one of the most interesting and unusual events of its kind in past years, attracts large crowds. The Leica exhibit drew over 64,000 people during its two-week display at Rockefeller Centre, New York, and proportionately large crowds in all cities it visited.\n\nRules for submission:\n1. No limit on number of prints.\n2. Prints should not be less than 8x10 inches.\n\nNew LaFayette Negative Files:\nIntroduced by Wholesale Radio Service Company, Inc., 100 Sixth Avenue, New York, these files are about the size of a book but accommodate up to 400 negatives (depending on size) with complete protection against scratching or other damage. Each file is equipped with 100 super-sized pockets.\nfine glassine envelopes and two index cards on which numbered spaces provide for entering titles of 400 negatives in the corresponding numbered envelopes. The files are available in three sizes: (1) for 35 mm. and Bantam film, (2) for vestpocket No. 127 size, and (3) for No. terrain is sturdy %-inch stock in one piece.\n\nVersatility Added by Eastman Combination\n\nAny camera user who wishes to make his equipment more versatile, by the gradual addition of accessories, will find the Kodak Combination lens attachments an ideal means to this end.\n\nThese attachments constitute a series of uniformly threaded units, each fitting the others, and all fitting an adapter ring which slips on or screws into the lens mount of the camera.\n\nEach attachment unit is available separately. The adapter ring is the basic unit, and only one such ring is necessary.\nRequired to mount any combination of attachments on the lens. An adapter ring and one filter retaining ring provide an ideal filter mounting. Filters can be interchanged readily, so the need for a metal cell mount for each is eliminated. All of the over 100 Wratten filters are available cemented in \u201cB\u201d glass circles to fit these attachments.\n\nSince individual cell mounts are unnecessary, the combination attachments effect a material saving when a wide range of filters is used \u2013 and this saving can be applied to other useful equipment.\n\nWith two filter retaining rings, filters may be used in combination if desired. A polar screen may be used directly on the adapter ring, or in combination with filters. Two polar screens may be employed at will. A Kodak Lens Hood (aluminum) may be used with the adapter ring alone, or with the attachment.\nA filter, a combination of filters, and a pola screen. Adapter rings are available to fit lens mounts from 3 inches to 214 inches \u2013 a range that will take care of virtually any hand camera. Beginning with a single adapter ring and filter retaining ring, the camera user can build up, step by step, a kit of unlimited versatility.\n\nA new 16mm film, Cine-Kodak Super-X Panchromatic, is announced from Rochester by Eastman Kodak. Fast, extremely fine-grained, and possessed of other highly desirable characteristics, the new film offers the following advantages:\n\nSpeed equal to that of Cine-Kodak SS Pan \u2013 double the speed of Cine-Kodak Pan; extremely fine grain; better definition, so that projected pictures appear clearer and sharper, especially to persons seated near the screen; improved quality, both in contrast and in the rendering of subtle tones.\nExposure recommendations and filter factors for Cine-Kodak Super-X Pan are the same as for Cine-Kodak SS Pan. The new film (not to be confused with the former 16mm. Kodak Super-X for miniature still cameras) is available as follows:\n\nCine-Kodak Super-X Panchromatic Film, 16mm., 100-foot rolls, $6; 50-foot rolls, $3.25; 50-foot magazines, $3.50; 200-foot rolls, $12; 50-foot packette for Simplex pocket and Filmo 121, $3.50; 10 meters for Kinamo S-10, $2.50. Prices include processing and return transportation within the country where the film is processed.\n\nEdwin L. Dyer, A.S.C.\n\nAt his home in Sunland, CA, Edwin L. Dyer, A.S.C., passed away the morning of May 23, at the age of 44. He leaves a wife.\nBessie M. Dyer. Due to illness, he had been inactive for the last year and a half.\n\nMr. Dyer was born in Muscatine, Iowa. When he was twelve years old, he took up amateur photography while attending school. Three years later, he went to work at the Balboa Studios in Long Beach, CA, as an assistant in the laboratory at first and quickly being shifted to timing prints and developing. He remained there for five years, being promoted to assistant cameraman.\n\nFrom 1915, Mr. Dyer was with the Heart of America Film Corporation of Kansas City as cameraman, photographing \"The Mysterious Boy,\" a serial, and later being placed in charge of the company\u2019s laboratory. From 1919 to 1920, he was news and industrial photographer for the Los Angeles Film Company, and then for four years, he was cameraman for the United Film Company of Kansas City.\nMr. Dyer produced industrial films. For several years, he worked with the Andlauer Film Company of Kansas City making industrial films, and with the News Photography and Productions and Motion Picture Service Company. He was an expert in multiple exposure and double printing and kept up-to-date with the latest methods.\n\nMr. Dyer remained with Motion Picture Advertising until 1932, when he joined the Jam Handy Picture Service Company of Detroit. He remained there until he was forced to relinquish his duties.\n\nJohn Aalberg, sound director of RKO-Radio Studio and chairman of the Council's Standards Committee, was appointed to represent the Research Council of the Academy of Motion Picture Arts and Sciences on the \"Sectional Committee on Motion Pictures\" of the American Standards Association.\nKodak 35mm model with four units of Kodak Combination Lens Attachments \u2014 adapter ring, filter retaining ring, pola-screen, and Kodak lens hood. Fewer units may be used at will, or others added as necessity dictates.\n\n274 American Cinematographer \u2022 June, 1939\n\nERPI Introduces New Sound System to Motion Picture Industry\n\nA new sound system to be handled by distributors of Western Electric theatre equipment abroad was introduced to the motion picture industry in New York, Monday, May 15, during a sales exhibition held by Electrical Research Products, Inc., at the Hotel Astor.\n\nSimultaneously, exhibitions were given in Havana, Mexico City, Rio de Janeiro, Buenos Aires, Santiago, Lima, Manila, London, Montreal, Singapore, Sydney, and Wellington. This is the first time a new sound system has been introduced with simultaneous showings all over the world. Major points of advantage, etc.\nThe new system, according to the announcement, includes more faithful reproduction and greatly increased power. Adaptable to any size or type of theater, its design anticipates future advances in sound recording, such as high-volume prints. Numerous refinements have been made throughout the new system, and its designers have perfected many basic features believed to influence future sound system engineering. For instance, they replaced ordinary machine oil used in film stabilizing mechanisms with a unique and recently developed oil in the 8mm Craig Projector. Now on display at dealers, acclaimed as one of the finest movie aids yet invented, the 8mm model of the Projector.\nThe Craig Projector-Editor is now being shown at photographic dealers. If you have not yet seen its 16mm counterpart, it might be explained that this editing device introduces a new principle in animated projection.\n\nDue to a unique optical arrangement, which dispenses with mechanical shutters, the film may be drawn through fast or slowly while movement on the viewing screen remains smooth and blurless. Since the film merely lies in place between highly polished guides, it can be conveniently removed at will for cutting and splicing.\n\nThe complete outfit includes the Craig Junior rewind and splicer combination, mounted on a hardwood base with a bottle of film cement. It lists at $27.50. Projector-Editor units may be purchased separately for $22.50.\n\nCraig Movie Supply Company\u2019s 8mm Projector-Editor bestows on the smaller film the same advantages obtained.\nThrough the 16mm parallel device, flutter has been reduced to an imperceptible amount. Precision measurements show it to be far below commercially acceptable levels. New circuit principles have increased the system's power to over twice the Academy of Motion Picture Arts and Sciences' requirements. Advanced loudspeakers deliver the highest sound quality, maximizing box office advantage. The new system begins with a compact film pulling mechanism, or reproducer set, where every shaft turns in a ball bearing, and only one precision-machined sprocket engages the film. \"Single sprocket threading,\" in addition, ensures smooth film movement.\nIn adapting the principle of single sprocket threading to reproducer set design, engineers utilized a proven principle of film propulsion standard in cameras and other precision recording equipment for many years. Another departure from conventional design, which materially reduces vibration and contributes to smoothness and silence of operation, is a unique device for supporting the motor. This arrangement, known as the Gaudio \"Win,\" took the honors in the Hollywood Reporters poll for April releases. This means the correspondents who are assigned to cover the film industry voted \"Juarez,\" directed by Tony Gaugio with his camera on Warner Brothers\u2019, as the best release for April.\nHollywood newspapers declared that the photography in \"Juarez\" topped those of the month's releases. The designers enabled the constant speed drive motor to be located in a central position on one side of the reproducer set. Regardless of the projection angle, the motor-armature and its associated drive shaft operate horizontally. Because the motor fits snugly against the side of the reproducer set and near its natural center of gravity, the entire assembly is stable, properly lubricated without leakage, and no thrust bearings are required.\n\nMogull's New Catalogue\nMogull Brothers, 68 West Forty-eighth street, brings out a new form of catalogue. April 1 appeared Mogull\u2019s World Fair News, in newspaper guise, 12 by 17 inches in size and 16 pages in capacity. It is intended to take the place of the regular catalogue.\nThe place of former issues appears every two months or oftener if circumstances justify. The firm believes this way it will be able to more readily keep abreast of numerous price changes and rapid advances made by manufacturers. Prominent in the new issue is an unusually large listing of 8mm. and 16mm. pictures for sale.\n\nJune, 1939. American Cinematographer 275\n\nMAURER TELLS ENGINEERS OF 16mm. SOUND PROGRESS\n\nSixteen millimeter sound-on-film provided the topic of several unusually interesting papers and demonstrations at the spring convention of the Society of Motion Picture Engineers, held in Hollywood May 17-21.\n\nPerhaps the most convincing of these was that given by J. A. Maurer, of the Bemdt-Maurer Corporation of New York, well known as pioneer specialists in 16mm. sound.\n\nMaurer had recorded his paper.\nA demonstration on 16mm. sound film was presented, using one of the new Berndt-Maurer 16mm. re-recording heads or \"film phonographs.\" The paper, highly technical in nature, discussed improved methods of recording sound directly on black-and-white 16mm. film as opposed to 35mm. recording and reduction to a 16mm. sound-track.\n\nThe recorded speech and interspersed musical demonstrations provided compelling evidence for Maurer's argument that with improved recording methods and equipment, it is now possible to record directly on 16mm. a frequency range and hence potential sound quality significantly exceeding the reproducing ability of much commercial 16mm. sound equipment.\n\nA special miniature glow-lamp for variable-density sound recording in 16mm. home movie cameras was announced in a paper.\nD. Canady, of the Canady Sound Application Corporation of Cleveland. This lamp, which is only slightly larger than a cigarette, according to Canady, \"when used with an amplifier equipped with an automatic volume-control or 'limiter' circuit, is capable of turning out creditable sound-track in the hands of inexperienced persons. The only item necessary for making talking pictures in the home is a 16mm. camera modified to receive the glow-lamp holder.\"\n\nCanady also described recent innovations in 16mm. projection equipment developed in France. Among these he mentioned that \"La Societe des Telephones Ericsson recently introduced its 16mm. projector equipped with the new mercury arc. The projector, originally designed for small audiences, is now quite capable of competing with 35mm. machines.\"\n\n\"The complete projector draws approximately 9 amperes at 110 volts and\"\nIts screen brilliance compares very favorably with the output of machines equipped with carbon arcs drawing 45 amperes. Some of the advantages claimed for it are an increased safety factor as compared to the carbon arc; no smoke or heat as the lamp is water-cooled; and a minimum amount of space is required for the complete outfit. It can be used without a booth and the equipment is easily transported for portable use.\n\nThe water cooling system consists of a motor-driven pump and radiator. If for any reason the water supply is interrupted, an automatic control instantly breaks the circuit going to the mercury arc. The mercury arc lamp is composed of a thick-walled quartz tube in which are mounted two tungsten electrodes with a drop of mercury between them under a pressure of 100 atmospheres. An outer shell permits the cooling.\nA sprocketless French projector, described in Canady's paper, features automatic loop regulation. The Oehmichen substandard projector is unique as it employs no toothed sprockets. A feed roller with marginal rubber tires, rotating at a peripheral speed slightly faster than the film's average speed, is used. When the film is pulled down by intermittent movement and the loop decreases in radius, pressure against the roller increases rapidly. As the roller moves faster than the film, the loop is quickly restored. With the increasing radius of the loop, pressure against the roller is gradually lessened to minimal traction.\nAfter leaving the intermittent movement, the film passes over another rubber-tired roller which has a peripheral speed slightly less than the film, forming the lower loop. When the radius of this loop decreases for any reason, film tension against the roller increases and the loop is quickly restored to normal size.\n\nIn threading, careful adjustment of the loops is unnecessary. Once the machine is under way, it assumes control and maintains loops of proper size regardless of perforations or film shrinkage.\n\nSound Projection Room\n\nCanady also described a deluxe French sound projection room, equipped with high-fidelity sound equipment for projecting not only the familiar standard and substandard formats, but also two unknown in this country. He says, \"The projection-room of the Musee de l'Homme at the Trocadero (Paris) is equipped with an unusual outlay of\"\nThe installation includes two 35mm projectors, one 16mm Kodak projector, one 17.5mm Pathe projector, and one 9.5mm Pathe projector, each equipped with a special-built sound-head and carbon-arc lamp. The members of the A.S.C. extend sincere sympathy to Past Vice President James Van Trees upon the death of his wife, Mrs. Leonette Van Trees. The end came on May 23 after a brief illness. Interment was at Inglewood Park on May 25. The installation was handled by Film et Radio (Paris) under the direction of an American engineer. Other than certain projectors, all apparatus is of American manufacture.\n\nThe new Victor Add-a-Unit Animato-phone, recently announced, makes sound additions.\nIt is possible for educational and business institutions of all kinds to acquire 16mm motion picture and sound equipment adaptable to all requirements. This new multiple-variation and multiple-use motion projector and sound system is manufactured by the Victor Animatograph Corporation of Davenport, Iowa. All units of the Victor Add-a-Unit Animatophone are interchangeable.\n\nBesides the apparent practicability, this new all-purpose sound system is economical, as units may be added as desired. Starting with the small, compact, basic sound projector, which is complete in itself, an outfit of any size can be secured by simply adding auxiliary units.\n\nThe Victor Animatophone basic projector provides silent or sound motion pictures, microphone facilities, and phonograph record amplification for an average-sized room, without the addition of any Add-a-Unit equipment.\nThe Los Angeles Cinema Club meeting was held on May 2nd in the Vine Street School auditorium. Member Freebaim discussed a method of sound on film for amateur 16mm users. His wife, commercially engaged in the making of sound films, then demonstrated her results with the showing of several reels in sound. The remainder of the meeting was devoted to the showing of a Kodachrome travel film, taken by Member Harry Parker during his recent trip around South America. Mr. Parker entertained during the projection using an efficient lapel microphone and speaker demonstrated by Fred Champion. Announced for the next month's meeting is an \"uncut film contest.\" Any members' films in one or two reel lengths are eligible, providing they were shown \"as taken,\" without splices or any form of editing.\nThe following piece of text is from the \"American Cinematographer\" magazine, edited by J. Plye, Jr. It was taken by \"Dick\" Whittington at 385 Wisconsin Street, Los Angeles.\n\nThis equipment of Whittington Photography is shown herewith and, to the best of the company's knowledge, is the only one of its kind in existence. The officers of the company will be surprised if it is not duplicated by professional photographers in major cities.\n\nKnown as the Trav-L-Lab, this equipment has been in steady use since the beginning of the year and has covered all of Southern California. With the high platform and ladder, the company has secured hundreds of photos that would otherwise be unobtainable. The accompanying pictures are sent in, believing other photographers will be interested in the practicality of this mobile equipment.\nThis text primarily designed for the company\u2019s News Pictures Division, is in constant use by all departments. Features of its construction: On a 1939 Dodge one-ton chassis. Total weight about 5500 pounds. Floor area 65 square feet. Equipped as a photographic laboratory, processing negatives and making prints, including enlargements up to 30 by 40 inches. Six men can work on the roof. It has running water, electrically heated and cooled with ice refrigeration. Air conditioned by intake and exhaust fans. Roof covered with non-skid rubber matting, accommodates six news photographers. Extension ladder is an integral part, extends upward 35 feet from the ground. Sufficiently rigid for time exposures except in.\nA strong wind requires faster exposure. The ladder, when collapsed, fits into a recess in the roof. The Trav-L-Lab has a top speed on the highway of 60 M.P.H., and film processing is carried on while at a standstill or in motion. On location, the laboratory is also used as a dressing room for models. The cost was less than $3500.\n\nWholesale Radio Service Company Inc. of New York and other cities has issued a catalog of 184 pages and cover, timed for the spring and summer of 1939. The publication is 7 by 10 inches and is packed with information. The final twenty-eight pages are devoted to cameras and parallel equipment.\n\n(Continued from Page 263)\n\nA primitive tribe before I felt it primitive.\nI take out my cameras to begin work. All my black-and-white motion pictures are 35mm., photographed on Eastman Super-X film. I find this film most satisfactory for speed, fineness of grain, and uniform quality, especially in artificial light. My developing, printing, and other laboratory work is done by the H. E. R. Laboratory of New York.\n\nI carry three Leica cameras. One is always loaded with Kodachrome color film and fitted with a Summar f:2 50mm. lens, the second with an f:3.5 35mm. lens, and the third with the Xenon. I use but two filters: one a medium yellow (K 2), the other a light red. Incorrect exposure means much ruined film and many lost scenes. By using Weston light meters, I have reduced these issues.\nI. Minimize such losses. These accure, long-lasting, little photo-electric \"eyes\" may earn back their cost in an hour.\n\nLighting equipment must be used if I am to obtain those intimate scenes inside homes, churches, schools, restaurants, nurseries, mines, factories, hospitals, and courtrooms. Without which, I would consider my film stories of any country incomplete.\n\nMy light kit, which fills only two small suitcases, consists of one dozen No. 4 photo-flood bulbs, several adjustable stands and reflectors, 300 feet of extension cable, a series outlet, and assorted types of electric plugs to meet the needs in different countries.\n\nIn hooking up my lights, I have blown out scores of fuses in places ranging from Russian grocery-stores to the Presidential Palace of Turkey; but I carry a stock of replacements for such emergencies. Pity the photographer.\nWho doesn't carry One-Minute flares? Since much of my photography is done in regions lacking electric lights, I also carry a water-proof box of one-minute magnesium flares, 100 or more flash bulbs for the Leica, and several home-made sun reflectors. In taking pictures abroad, I have not yet had any of those shabby adventures, enjoyed by some, in which the American photographer, enjoying the hospitality of a foreign state, is \"boldly snapping forbidden pictures\" with the police \"hot on his heels\"\u2014 only to be \"outwitted\" by him, of course. It may sound thrilling, but both the practice and the pictures are bad. In eight years of human interest photography, in such thoroughly regulated countries as Japan, Germany, the Soviet Union and Turkey, I have had little of the unpleasantness which travelers frequently report. A reputation for fairness, a frank and open manner have been my best protection.\nA friendly attitude toward local authorities has enabled me to obtain exclusive pictures in places where other photographers, including natives of the country, were forbidden. However, increasing governmental restrictions in many countries have at times made diplomacy a major part of my job.\n\nJoseph L. Underhill, who managed motion picture sound recording activities for RCA Photophone, Ltd., in London for ten years, has returned to Camden to take on important new duties under the direction of Max C. Batsel, RCA Photophone chief engineer.\n\nUnderhill is a native of Indiana and studied engineering at Purdue. He joined the RCA organization in 1929 in the sound recording division in New York. He was assigned to London later in the same year. In addition to his responsibilities in England, Mr. Underhill also holds important duties within the RCA organization.\nART Reeves in charge of RCA Photo's technical developments on Continental Europe.\n\nArt Reeves, Motion Picture Equipment Studio and Laboratory, tested since 1929.\nAutomatic Developing Machine, complete in every detail. Hollywood users can attest to machine's superiority.\n- Sensitester\n- Variable Density Sound System\n- Variable Area Sound System\n- Single System\n- Re-recording System\n- Microphone Boom\n- Reeves Lites\n- Sound Accessories\nLaboratory Accessories\n\nArt Reeves\nCable Address: ARTREEVES\n7512 Santa Monica Blvd. Hollywood, California, USA\n\nAmerican Cinematographer, June 1939\n\nThalhammer announces line of photographic accessories\n\nThe Thalhammer Company of Los Angeles, California, announces a line of Kino photographic accessories, manufactured by the makers of Thalhammer tripods. All of these new items described and illustrated in Thalhammer 1939 catalog.\nThe Kino all-angle base, compatible with Leica, Retina, or Midget Marvel cameras, allows achieving any camera angle - vertical, horizontal, or diagonal. Its precise construction ensures smooth action in changing camera angles. The Kino all-angle base for Leica or Retina costs $8.50, while for Midget Marvel, it's $10.\n\nThe Kino Universal all-angle hinge is a robustly built hinge that offers a smooth action for attaining any desired camera angle. It is designed to fit all miniature cameras, priced at $6.50.\n\nThe Kino combination all-angle base for Leica includes a base permitting any camera angle and a set of Kino extension rods, an adjustable sunshade, and a filter holder. Through the use of extension rods, the filter holder can be used with any Leica lenses.\nThere is a two-way adjustment on the sunshade vertically and horizontally to permit a perfect fit around the lens. This complete combination is priced at $30. The Kino Movie Assembly is available for use with most makes of movie cameras. Following numerous requests for a popular, affordably priced tripod and pan head combination, one that might embody some of its exclusive features, the Thalhammer Company of Los Angeles is now manufacturing its new Thrifty 10. Dispensing with chrome plating and some of the more deluxe fittings, yet retaining all its rugged and precision-built qualities, this unit has been designed to sell for $10. Its tilt-pan head has a natural metal satin finish and incorporates the exclusive Thalhammer \u201cInstant-On\u201d Plug. The tripod is made of selected, seasoned wood, finished in clear lacquer metal parts polished or coated with black.\nThe assembly is a combination of Kino extension rods. The Thalhammer Company has enlarged its quarters. The new address is 1015 West Second street, Los Angeles. The new 1939 catalog is available.\n\nAgfa Issues New Film\nAgfa Ansco Corporation has announced a new film for documentary recording, climaxing a period of extensive research in the microcopying field.\n\nThis new film, due to its exceptional high resolving power, is ideally suited to bibliographic and documentary recording requiring considerable miniaturization. The new Agfa Minipan film provides a proper balance of speed, contrast, color sensitivity, and halation protection.\n\nThese factors have been adjusted to give a film of the greatest possible practicability, while holding the resolving power at a maximum. The new film is capable of resolving up to 135 lines.\nFor a precision of 3400 lines per inch, according to the recording equipment used, Agfa Minipan is available in the following standard units: 100 and 200 feet rolls, 35mm., unperforated, darkroom loading. 100 and 200 feet rolls, 35mm., with single perforation, darkroom loading.\n\nUSE THE RIGHT TOOLS\nFor sharp, brilliant home movies or projected stills, you need an efficient screen as well as a good projector.\n\nThe Da-Lite Challenger SCREEN\n\nShow your pictures on\na Da-Lite Reg. U.S. Pat. Off.\nscreen\n\nChrysler, General Motors, John Deere, Stewart-Warner and many other prominent users of industrial motion pictures or slidefilms rely on Da-Lite Screens for perfect projection. Da-Lite Screens have also been the choice of leading theatres for 30 years. Portable models for home use are made in many styles, including the Challenger, which is shown above.\nDa-Lite Screens can be set up instantly anywhere. Prices recently reduced. Da-Lite Screen Co., Inc.\n\nDa-Lite screens offer outstanding value on the market. A 30 x 40-inch Challenger is now only $12.50.* Other styles as low as $2.00.* Write for literature and name of nearest dealer.\n\n* Slightly higher in Pacific Coast States.\n\nPress Photography with the Miniature Camera\nBy Duane Featherstonhaugh\nIllustrations (25) by the author.\n\nAmerican Photographic Publishing Co.\n\nJune, 1939\n\nAmerican Cinematographer 279\n\nPress Photography\n\nPress Photography with the Miniature Camera\n\nBy Duane Featherstonhaugh\n\nThis book introduces the rare good books on press photography. It points out that most published books have explained the press photographer's working methods using theories. They have also assumed that the press photographer could have access to more equipment than is obtainable.\nThe average newspaper office. Press photography, it points out, is photography reduced to its simplest terms, and it is this simplicity which enables its followers to obtain outstanding results with a minimum of time and effort. The author declares that the average amateur would do well to study the work and methods of news photographers. He suggests if he does, he is sure to find his pictures will be much better, and that his time, trouble, and expense will also be reduced.\n\nThe chapters include the miniature camera's place in the field, cameras, equipment, exposure, processing, subjects, taking the picture, selling the picture, the staff photographer, specialties, and ethics.\n\nPress photography with the miniature camera is an entirely new development. Five years ago, says the author, not one paper in a hundred owned one.\nSmaller cameras while today almost every paper with a circulation of twenty thousand or more owns at least one miniature camera, in addition to its battery of larger cameras, such as Graflex or Speed Graphics. Old-time press photographers or even comparatively newcomers who have been taking pictures only for five or ten years are suspicious of the tiny camera. Yet, there can be very little doubt it is winning its rightful place in the field.\n\nIt is conceded the average worker will find it easier to produce good pictures with a large camera than with a miniature. However, his problem is one of technique. The worker who really strives to adapt his technique to the camera he is using will soon find that he is able to overcome any difficulty encountered in processing and printing the smaller negative.\n\nPhiladelphia Cinema Club.\nThe Philadelphia Cinema Club welcomed a group of neighboring movie clubs for its May program. Over 350 amateur movie enthusiasts attended, including representatives from the Allentown Movie Club, Olney Camera Guild, Raritan (N.J.) Photographic Society, Bell Movie Club, Norristown (Pa.) Cinema Club, and Trenton (N.J.) Movie Makers.\n\nCourtesy of the Trenton Movie Makers, a 400-foot 16mm black and white film titled \"Iron and Steam\" was presented. This was the work of Charles Dobbins from the Trenton organization. The film showcased scenes along the Pennsylvania Railroad between New York and Philadelphia, as well as interior shots of the New York City station.\n\nFrom the Norristown Cinema Club, another film was shown.\nA 400 foot reel of 16mm film, titled \"Skiing in the White Mountains\" by Robert Staford of the Norristown group, was an offering. The camera work and scenic effects in this film were well done. Through the courtesy of the Fisher Body Division of General Motors Corporation, the combined groups were given an opportunity to see its 16mm sound on film, \"Let's Go Fishing,\" where Ted Husing did the narrative work. The final showing of the meeting was a review of Ripley Bugbee's late film \"Mighty Summits,\" originally presented at our banquet in February. The requests to see this film again were so great that it was shown once more with Robert W. Crowther handling the musical background via the double turntable method. For breathtaking beauty,\nReal photography, perfect scenic work, the film stands by itself and is indeed a fitting final tribute to the memory of the man who was so instrumental in the original organization of the Philadelphia Cinema Club.\n\nB. N. Levene, Chairman Publications Committee.\n\nProfessional 16mm. Sound Editing\nComplete facilities for \"synching\" your picture. Reasonable rates. Work guaranteed.\n\nTelefilm\n6039 Hollywood Boulevard GL 5748\n\nMovola\nFilm Editing Equipment\nUsed in every major studio\nIllustrated literature on request\nMovola Co.\n1451 Gordon St. Hollywood, Calif.\n\nCamera Supply Co.\nArt Reeves\n1515 North Cahuenga Boulevard\nHollywood, California\n\nEfficient-Courteous Service\nNew and used equipment\nCordon Bennett \u2014 Manager\nBought \u2014 Sold \u2014 Rented\nEverything Photographic Professional and Amateur\n\nThe New Edition\nMovies or still\nProfessional or amateur.\n35mm., 16mm., 8mm. motion pictures, tables and charts for Cine cameras, film, filters, lenses, angles, miniature cameras, lights, calculators, color systems, exposure meters, timers, projection, developers, toners, etc., over 200 pages of essential material. The Best Hand Book of Its Kind Ever Published. PRICE $3.00. Send for descriptive circular. Jackson J. Rose, A.S.C. 1165 NORTH BERENDO ST. HOLLYWOOD, CALIF. American Cinematographer \u2022 June, 1939. Curtis Color Camera. Light and Fast.\n\nAbstract of Papers\nFrom the Convention of Engineers at Thomas S. Curtis Laboratories, Huntington Park, Calif., announce a new two-mirror, three-color camera of near-miniature size designed expressly for personal use. Curtis Color-Scout weighs but five pounds. With lens and one dozen loads of film total weight is but seven pounds, and the size is comparable with a 214 by 3 inch reflex camera.\nThe little Color-Scout camera, constructed entirely of aluminum alloys and featuring a normalized casting of an alloy developed by the Aluminum Company of America for uses requiring complete permanence of size and shape, ensures a lifetime of unimpaired service. The Color-Scout is the result of sixteen years of continuous research into direct color photography by a pioneer designer and manufacturer of color equipment. It embodies every known feature and many completely new ones, ensuring precision of register, color balance, freedom from internal reflections and flare, maintenance of even illumination of the three emulsion apertures, convenience, and speed of operation, as well as extraordinary compactness and lightweight in an all-metal design.\nThe 2V4 by 3V4 negatives enlarge to 11 by 14 with a quality usually associated with five by seven negatives. The field research has been extremely thorough, hundreds of exposures having been made under conditions ranging from motion picture studio sets and gallery shots to portraits in the home and in landscapes from the desert below sea-level to the mountains over a mile high. Every known form of lighting has been employed, from the orthodox to the \u201ctrick\u201d variety, in order to explore the versatility of the camera under actual service conditions.\n\nCurtis Color-Scout is unique among two-mirror cameras as it is beautifully streamlined in design and rests upon its own natural base. The awkward shape inherent in many two-mirror cameras has been overcome, resulting in a design that is beautiful, practical, and convenient in use.\nThe speed of the Color-Scout is extraordinary, a full, honest Weston 12 resulting in fully timed negatives with exposures of 1/100 second at F.8 in sunlight, with ample reserve for instantaneous exposures in the shade or on dull days at television lighting apertures.\n\nWilliam C. Eddy, National Broadcasting Co., New York, NY.\n\nA direct-reading photoelectric densitometer. D.R. White, Dupont Film Manufacturing Company, Parlin.\n\nA photoelectric densitometer has been built which shows the density of the measured area on a direct-reading scale visible at a reading window. A density range from 0 to 3.0 is covered with a reproducibility of approximately \u00b10.005. A motor-driven circular neutral wedge is used as the balancing means.\n\nLanders Trissel, Inc. - : RENTALS - SERVICE : - MOTION PICTURE CAMERAS - BLIMPS - DOLLIES - CAMERA CRANE.\nAND ALL ACCESSORIES for PHONE\n6313 Sunset Boulevard, Night (near Vine Street) Landers HE-1311\nHollywood, California Trissel - Sunset 25992\nBABY KEG-LITE\nBardwell & McAlister, Inc.\nMotion Picture Electrical Equipment\n7636 Santa Monica Blvd.\nHollywood, California Tel. Hollywood 6235\nJune, 1939 \u2022 American Cinematographer 281\n\nThe density scale marked on the wedge is read by a stroboscopic flashing light controlled through a special amplifier system.\n\nA Multiduty Motor System. A.L. Holcomb, Electrical Research Products, Inc., Hollywood, Calif.\n\nVarious features of motor drive systems now in use by motion picture studios are described, and the requirements for an ideal system defined. A recently developed system is described that will operate efficiently on alternating current for stage use or on direct current for location work. Many operating facilities are discussed.\nTies are indicated should become part of any ideal motor drive system. Recording and reproducing characteristics. K.F. Morgan and D.P. Loye, Electrical Research Products, Inc., Hollywood, Calif.\n\nIn the improvement of sound motion pictures, the trend has been to make the response of all parts of the recording and reproducing circuits as flat as possible. In some cases, however, this has resulted in unnatural sound and therefore certain empirical practices have been adopted in studios and theaters to make pictures sound best.\n\nA new mobile film recording system. B. Kreuzer, RCA manufacturing Co., Hollywood, Calif., and C.L. Lootens, Republic Productions, Inc., North Hollywood, Calif.\n\nThe design requirements for this type of unit and how these requirements were met in the selection of truck, body, and other components.\nThe discussion covers sign layout, equipment, and other aspects of a motion picture industry unit. The recording equipment used with the power equipment and special features of the unit are described. This type of unit has operated successfully without revision.\n\nKeene, K.W., Underwriters Laboratories, Inc., San Francisco, Calif.\n\nThis paper deals with a specialized phase of the motion picture industry: its fire hazards primarily due to the prevalent use of nitrocellulose film. The causes of hazards will be considered, and an attempt will be made to show their reality and what is being done about them. The paper concludes with a discussion of some underlying considerations affecting Underwriters' Laboratories' Standards.\nRCA: Aluminate Developer. J. R. Alburg, RCA Manufacturing Company, Camden, NJ. C. H. Cartwright, Massachusetts Institute of Technology, and W. S. Thompson, RCA Manufacturing Company, Inc., Hollywood, CA.\n\nClass A-B Sound Track: Explanation and operation requirements. Differences between push-pull photocells and vacuum tubes, and discussion on Class A, Class A-B, and Class B push-pull tracks.\n\nThe Preservation of History in the Crypt of Civilization. T. K. Peters, Oglethorpe University, GA.\n\nClass A-B and its recording system specification. Requirements for Class A-B system operation. Differences between push-pull photocells and vacuum tubes. Advantages of Class A, Class A-B, and Class B push-pull tracks.\nHEADQUARTERS\nBV Howell-LhW.Vlyaw bell & STUDIO & CUTTING ROOM EQUIPMENT - LFlicce MOTION PICTURE FILM DEVELOPING MACHINERY A NEW DRIVING PRINCIPLE NO SPROCKETS\u2014 NO ELEVATORS Complete with temperature control for developer, developer agitation and spray Simple in design\u2014 costs 50% less to operate We manufacture developing machines only T Fonda Machinery Company 8928 Santa Monica Blvd. Los Angeles, CA Cable Address \u201cFonda\" April \"In World\" (Oid* Us* produce film and (VJrcjbf in Daytimv~F?^ 5cvo*s- Diffused Focus and many off-tar rffrrfs Goorcjo H. Schibe ORIGINATOR OF EFFECT FILTERS 1927 West 76th St Los Angeles CA 8mm BULK FILM 16mm * NON HALATION Weston 8 Fine grain, semi-transparent. Can be used in any straight or double 8mm camera. . 4 . 200 ft. 8mm in double 8mm width, $1.75 For titles, negatives, reversal, positives. Labo\nYou get \"3 inserts\": 1. Vignette, 2. Sunshade, 3. Filter Holder. Produces a rectangular fade at ANY desired speed \u2014 manual control. No metal shutters to rust. Light weight and rugged construction. Five moving parts. Fits all cameras, 8mm or 16mm, to lens collars. No interference with viewfinder. Comes with a Wesco filter holder accommodating 25mm round filters. Special adapter for Eastman lenses. When ordering, specify make, model, and lens. Ask your dealer for a demonstration. Western Movie Supply Co. 5 A Sutter Street, San Francisco. American Cinematographer, June 1939. A film preservationist who inaugurates the unique task of preserving in film for the people of the eightieth century a complete picture of.\nOur life in America today; the problem of the life of film and its relationship to ancient papyrus that has come down to us over sixty centuries; the method of preserving it; the microfilming and preparation of the records; the making of a duplicate film on metal; and the entire scope of the project is set forth and discussed.\n\nNew Frontiers for the Documentary Films. A. A. Mercey, United States Film Service, National Emergency Council, Washington, D.C.\n\nThe motion picture today is the legacy of experimentation of the past. The ancient Egyptians indicated movement in their processional hieroglyphics; the Greeks suggested movement in the magnificent friezes on the Parthenon. Muybridge\u2019s famed experiment with twelve cameras to catch the movements of a horse was anticipated by experimentation of centuries before. Kircher with his magic lantern in 1640, Peter Mark Roget, and Muybridge's work were pioneering efforts in the field of motion picture technology.\nSir John Hershel, von Stampfer, Sellers, Heyl, Faraday, Daguerre, and Niepce are among those who worked and contributed to establishing the practicality of the law of persistence of vision with regard to moving objects.\n\nGeo. W. Colburn Laboratory\nSpecial Motion Picture Printing\n1197 Merchandise Mart, Chicago\nGUARANTEE\nRugged construction and critical manufacturing standards enable us to guarantee efficient performance of the B-M Model F Sound Recording Unit for two full years without regard to the amount of footage recorded.\n\nB-M\nSOUND RECORDING UNIT\nMODEL F\nA compact, rugged, and simplified 35 mm SOF recording unit for symmetrical VA track\n\nFrequency response chart\n\nThe Berndt-Maurer Corp.\n117 East 24th Street, New York, NY\n\nA New Magnetic Recorder and Its Adaptations. S. J. Begun, Brush.\nA magnetic recording machine is commercially available in Cleveland, Ohio, using an endless steel tape loop as a recording vehicle. Such an endless loop makes it possible to record and reproduce without reversing the direction of rotation of the mechanism. No manipulation of the recording and pick-up heads is necessary.\n\nLamps and Optical Systems for Sound Reproduction\nF. E. Carlson, General Electric Co., Cleveland, Ohio.\n\nSound reproduction systems are designed on the premise that the soundtrack will be illuminated by a scanning-beam of substantially uniform flux density. This paper presents results of extensive studies of the actual beam characteristics for all types of optical systems and lamps employed in the reproduction of sound from film. These studies were made possible by a unique microphone.\nThe text covers studies on a tometer designed by the author, including relative scanning beam illumination levels, effect of source displacement on total flux at the sound-track, microphotometer recordings of flux density distribution across the beam affected by optical systems and source forms, and source displacments. Further improvements in light record repoducers and theoretical considerations are discussed. A reel-and-tray developing machine is described by A.L. Williams of Brush Development Company, Cleveland. R.S. Leonard of Municipal Light and Power System, Seattle, Washington, presents a reel-and-tray film processing system of 7 to 200 foot capacity designed to overcome deficiencies in existing small-scale film processing equipment.\nScene 1 (Interior). Winslow's luxurious apartment living room. Marie, the maid, crosses and admits Paul, who is laden with flowers and candy.\n\nScene 2 (Close-up). Paul's sincere and eager smile as he hands his things to Marie.\n\nScene 3 (Close-up). Marie's smile of welcome as she takes them. Paul, in her opinion, is her mistress's only sincere caller. The others are hypocrites.\n\nScene 4 (Medium). Marie motions Paul to a seat and sets the flowers.\nAnd Marie on nearby table picks up candy exits for vase. Paul thumbs small volume idly. Marie returns with vase of water starts arranging flowers in it. Evelyn appears in doorway garbed in negligees.\n\nScene 5 (Closeup). Evelyn setting mood for Paul. She's tolerant of his attentions, which appeal to her vanity; but she prefers other followers.\n\nScene 6 (Medium). Evelyn pauses only momentarily enters room with hand extended toward Paul.\n\nby Francis S. Nelson\nInsures Professional Titles\nof Excellent Workmanship\nFeaturing MAIN Titles\nHand-Colored \u2014 Hand-Lettered\nArt Poster Backgrounds\nStock Main Titles or Special Orders\n8 MM or 16MM\nKodachrome \u2014 Black and White \u2014 Purple Haze\nFlame Tint\nInformation \u2014 Samples \u2014 Price List on Request\n\nFrancis S. Nelson\n737 Micheltorena St. Los Angeles, Calif.\nFried Sound and\nPicture: Printer Model DB, FRIED CAMERA CO., 6154 Santa Monica Blvd., Hollywood, CA Cable Address: FR1EDCAMCO\nDeveloping Machines: Printers, Lite Testing Machines by CINEMAKER\n\n--- CAST ---\nEvelyn Winslow - a society divorcee\nMarie Adlon - her loyal maid\nCarlos Spinoza - her favorite courtier\nPaul Smith - her secret admirer\nAndre Saffron - another chiseler\n\n(Properties)\nEquipment for an outdoor picnic: 3 cars, 1 expensive, 1 cheap, 1 open; 2 bouquets and candy; 2 flower vases; 8 by 10 photos of all cast members.\n\nEvelyn rises to greet her. On her face is a pleasant but supercilious smile. Paul is wide-eyed with worship for her. (Closeups optional)\n\nScene 7 (Medium): Marie finishes arranging flowers and exits. Evelyn approaches flowers with rapturous appreciation. She loves flowers. She selects a small bud from the bouquet and inserts it in his lapel. Then, pushing him aside, she takes a seat.\nShe sits on a chair and, in a slightly dutiful manner, opens the candy and offers it to him. Glancing apprehensively at a nearby clock, she turns on the radio. Evelyn offers Paul literature. COOKE LENSES FINEST CORRECTION FINEST DEFINITION FINEST NEGATIVES BELL & HOWELL COMPANY Exclusive World Distributors of Taylor-Hobson Cooke Cine Lenses 1848 Larchmont Avenue Chicago New York: 30 Rockefeller Plaza. Hollywood: 716 N. LaBica Ave. London: 13-14 Great Castle St.\n\nHe takes the candy from her and they dance. While they are dancing, Marie enters, crosses, and opens the door to admit Carlos.\n\nScene 8 (Medium-close). Carlos, the smooth, oily type, is also laden with candy and flowers. Paul and Evelyn cease dancing as Marie takes Carlos' things. Evelyn approaches Carlos, who gallantly kisses her hand. Next, he nods abruptly to Paul but returns his gaze.\nScene 9 (Medium). Evelyn steps back from Carlos, makes her excuses to the two men and exits, leaving Paul puttering with the radio. Carlos struts to Paul's discomfiture, and Marie arranges the second vase of flowers, which are ever so much more pretentious than Paul's. Finally, Marie exits, leaving Paul reseated and thumbing a volume again, while Carlos stands rather arrogantly admiring the flowers he's just brought. (Fade-out).\n\nScene 10 (Fade-in) (Medium). Paul and Carlos glare rather balefully at each other as Evelyn returns, dressed for the street, closely followed by Marie. Evelyn goes over to Paul with an imploring attitude. She begs, with facial expression and gesture, to be excused, that she must leave with Carlos.\nPaul finds Marie slightly patronizing. Towards him, Paul shrugs agreeably and motions not to mind. He adores her and wants her pleased in all things.\n\nScene 11 (Medium). Evelyn leaves with Carlos as Marie enters. Marie FAON DEAN INC. CAMERAS BLIMPS-DOLLIES FOR RENT 4516 Sunset Boulevard asks Paul if she can get him a drink or something before he leaves. Paul shakes his head and, picking up his hat, walks over to the mantel where there is an exquisite photo of Evelyn. He stands a moment in silent worship of her picture. Not far from it is a photo of him and one of Carlos. Marie joins him as he, with a sniff, glances at Carlos' picture. She, too, looks at it wrinkling up her nose in a distasteful rabbit's face. She is in sympathy with Paul's love for Evelyn.\nAnd she tells him to wait, that one fine day she'll fix Paul's \"heel\" Carlos for good. Paul only shrugs and pats Marie appreciatively on her shoulder as he heaves a bit of a sad sigh and exits. Marie busies about setting things to rights.\n\nScene 12 (Fade-in) (Medium). Evelyn, returned from her outing with Carlos, entering her apartment living room, calls Marie, who enters and takes her things. Evelyn, tired, drops into a chair. Marie pauses by the mantel and looks contemplatively at the two pictures of Paul and Carlos, and then over at Evelyn, who is sitting relaxed. Picking up the photo of Carlos, Marie approaches Evelyn in an apologetic manner and cautiously opens the conversation. Evelyn is interested. She likes and trusts Marie, her maid and companion.\nMarie tells Evelyn that she knows Carlos well, that he's a hypocrite and a \"heel\"; worst of all, he's a skirt-chaser, and as uncertain as the weather, and as unfaithful as an alley cur. This latter remark and attitude arouse Evelyn, who defends Carlos with irritated emphasis. Marie, finally replacing the photo on the mantel, says that someday she'll show up Carlos for the \"heel\" and skirt-chaser that he is. Then, picking up Paul's picture, Marie adds that there's a regular fellow for you; that he's the one Evelyn should encourage most. Evelyn sniffs rather disdainfully and agrees that Paul's all right but not exciting enough for her ultra-active temperament.\n\nScene 13 (Fade-in) (Medium). Evelyn's kitchen the next morning. Marie and Evelyn are preparing a hamper of Hollywood Outdoor Is a scene from a movie.\nQuality Non-Halation Fine Grain Semi Ortho Film. Produces Clear Sharp Pictures.\n\nHOLLYWOOD 0^ FILM\nCJ CQ PER 100 Foot Roll, plus 10c a roll handling charge. Min. 2 rolls at tills low price. Cost includes machine processing, spooling, mailing. Fits all 100 ft. camera?, wound on 1001 ft. daylight loading spools. 1/3 cash with COD orders. California buyers include sales tax.\n\nHOLLYWOODLAND STUDIOS\nSouth Gate California\n\nlunch for a picnic. There is the usual picnic-basket equipment for four. (Fade-out)\n\nScene 14 (Fade-in) (Medium) Evelyn's living-room. Marie enters, crosses and admits Carlos, who has a package for the picnic. He follows Marie out into the kitchen.\n\nScene 15 (Medium) Evelyn's kitchen. Marie and Carlos enter. Carlos greets Evelyn and goes through his hand-kissing routine, then offers to help.\n\nScene 16 (Medium) Living-room.\n[Scene 17 (Medium). Kitchen. Marie enters, followed by Paul, who is also carrying something for the picnic. Paul follows Marie into the kitchen.\n\nScene 17 (Medium). Kitchen. Marie enters, followed by Paul, carrying something for the picnic. Paul follows Marie into the kitchen.\n\nCarlos looks at them with a fleeting expression of consternation, as if he didn't know \u2013 and resents \u2013 Paul being invited. On second thought, Carlos decides to make the best of it and, overdoing it a little in patronizing tones, he enthusiastically greets Paul after Paul has paid his respects to Evelyn and thanked her for inviting him. (Fade-out).\n\nScene 18 (Fade-in) (Medium-Close). 100 Ft. REEL 16MM FEATURE SAN FRANCISCO $-195 WOIU.irS FAIR leach\n\nTake Color Movies of Wedding Bells, Roses, Vacations, Travels, Sports]\non Kodachrome, Dufaycolor and other color films. The high chromatic correction of these lenses will yield results which will be a revelation to you and your friends. Clear-cut images, undistorted, of microscopic definition and wonderful, crisp brilliance. Focal lengths 15 mm. to 100 mm. can be fitted in suitable focusing mounts to Amateur and Professional Movie Cameras.\n\nGOERZ REFLEX FOCUSER\n\u2014 Patented \u2014\nA boon to 16 mm. Movie Camera users \u2014 eliminates parallax between finder and lens \u2014 provides full-size ground-glass image magnified 10 times. Adaptable to Lenses 3\" and up. Also used as Extension Tube for shorter focus lenses for close-ups. Extensively used in shooting surgical operations, small animal life, etc.\n\nAddress Dept. AC.\nC.P. GOERZ AMERICAN OPTICAL CO.\nAmerican Lens Makers Since 1899.\nMarie gives Evelyn a sealed envelope and asks her to keep it until they return from the picnic. Evelyn's curiosity about it is displaced by Marie's casualness as she shrugs that it's not very important. They are in a hurry to leave. Evelyn tucks the envelope in a drawer in her dresser.\n\nScene 19 (Fade-in) (Medium) (Exterior). Outside Evelyn's apartment house. Parked are three cars: an expensive-looking one belonging to Carlos, a cheap one of Paul's, and a large open one belonging to Evelyn. Through the apartment house door comes Evelyn and Marie, followed by Carlos and Paul, the latter carrying the huge picnic hamper, which is stowed in the rear of the open car. Evelyn asks Paul to drive, and Marie to sit in front with him, while she and Carlos occupy the rear seat.\nScene 20 (Fade-in) (Exterior. The car is stopped at a likely picnic spot, far out in the countryside. Cut in shots of scenery: landscapes, clouds, etc. All aid in spreading the picnic setup under a huge tree. As they begin to eat - Fade-out.\n\nScene 21 (Fade-in) (Medium. The lunch setting. They have finished eating. Marie has begun to put the things away. Evelyn, laughing, jumps to her feet and, grasping Paul by the hand, wants to run with him to a creek several yards away. A chase-shot might be cut in here.\n\nScene 22 (Medium. At the creek, the water is tempting. Impulsively, Evelyn decides to go wading. She rolls up her slacks and pulls off her shoes and socks. Paul does likewise, and hand-in-hand, they wade, laughing and joking. They enjoy it.\n\nScene 23 (Medium. Back at the picnic setting, Carlos is helping Marie.\n[He notices her trim little figure covetously as he helps her put things away. He brushes against her caressingly every opportunity he gets and catches her fingers in his hand whenever he hands her things.\n\nDocumentary Film\nBy Paul Rotha\n\nThrough creative reporting of social facts on film, motion picture photographers have given the public a deeper, more significant, and more intimate contact with community life than any other art or journalism has been able to achieve. In Documentary Film, Mr. Rotha presents a complete and lucid account of the aims, background, methods, problems, and technical aspects of this new form, from its beginnings to the present, in Europe and America.\n\nIllustrated. $3.75.\nW. W. Norton & Co.\n70 Fifth Ave., New York\nJune, 1939\nAmerican Cinematographer 285]\nEvery time he does either of these things, Marie gives him a \"naughty-naughty\" look. Once, when he tries to throw his arms about her (the waders in the creek are out of sight), she wriggles out of his grasp. She continually keeps an alert eye peeled in the direction of the creek. When she sees the waders returning, she picks up the cloth or blanket on which the lunch had been spread and goes behind some nearby bushes to shake it out. Carlos follows her, not seeing the waders returning so concentrated is he on Marie. Then, too, the waders are more subdued, not as noisy as they were when they ran to the creek. They're tired and returning quietly.\n\nScene 24 (Medium-Close). Behind the bushes where Marie is shaking the blanket, Carlos again tries to embrace Marie. She eludes him until the instant Evelyn and Paul come within vision.\nScene 25 (Medium): Marie, suddenly upon Evelyn seeing them, decides to repel Carlos. She struggles and wriggles, and finally escapes him, running back towards the car. Evelyn, who has caught up with them, her eyes flashing fire, contemptuously berates Carlos. In a ladylike low-voice but none the less cuttingly, she tells him what she thinks of him and what he can do. She then turns to Marie and gives her a composed but effective verbal lashing, and in conclusion, dismisses her. Paul looks towards Marie with sympathy. He doesn't think she should be blamed for Carlos' vileness.\n\nScene 26 (Medium): They board the car for the return trip. Evelyn sits in front with Paul, more friendly towards him than ever, as the other two are unmentioned.\nScene 27 (Medium). Exterior of Evelyn's apartment house as they drive up. Carlos, with a contemptuous look at Marie and another sneer for Paul, makes a brief apology to Evelyn. She asks him kindly to forget that he knows her, turning her back on him, and talks to Paul behind the wheel. Carlos walks rapidly away without a backward look, climbs in his nearby parked car, and drives off. Marie is still seated in the back seat, a bit uncertain. Evelyn turns to her and orders her upstairs to pack her things and leave, telling her that when she comes upstairs, she doesn't want to see any sign of her or anything belonging to her. Marie exits through the apartment house door.\n\nScene 28 (Medium-close). Evelyn and Paul, still seated in the front seat, talk. Paul remonstrates with Evelyn.\nMarie mentioned Carlos being harsh, but Evelyn argued that Marie seemed to enjoy lovemaking with him, as she hadn't repelled him until Evelyn returned at the picnic. Paul believed he should support Marie due to her sympathy towards him. Their argument heated up, with Evelyn suggesting Paul might be interested in Marie. Paul became insulted and offered to drive Marie in his car, infuriating Evelyn.\n\nScene 29 (Medium): Marie allowed Paul to help her into his car with her bags. Turning to Evelyn, she instructed her to read the letter she had given her.\n[Scene (Medium-close) (Interior). Evelyn in her dressing room, opening the letter Marie handed her that morning. She opens it and reads:\n\nScene 31 (Insert). A brief typewritten or large bold, hand-written note:\n\nMy dear Eve,\n\nToday at the picnic, I'm going to try to show you what a common skirt-chaser your good friend Carlos is. He'll probably try to make love to me if you are out of sight for even a moment. I'll let him do so just long enough for you to see - to prove that I'm right about him. Your loyal,\nMARIE\n\n[Scene 32 (Medium-close). Evelyn reading Marie's note, and suddenly realizing]\n\nFOR SALE\nWALL REBUILT BELL & HOWELL SINGLE system sound camera\nBerndt-Maurer galvanometer, 12 v motor, 3 lenses, 2-1000 ft magazines, finder, sunshade, amplifier, W. E. dynamic microphone, complete, $2250.\nMotion Picture Camera Supply, Inc.\n723 Seventh Avenue, New York City\nCable Address: Cinecamera\nThe world's largest variety of studio and laboratory equipment with the latest improvements as used in Hollywood at tremendous savings. New and used. Mitchell, Bell-Howell, Akeley, De Brie, Eyemo, animation process cameras, lenses, color magazines, adaptors, lighting equipment, silencing blimps, dollies, printers, splicers, moviolas, motors, light-testers, gear boxes, synchronizers. Guaranteed optically and mechanically perfect. Send for bargain catalog.\n\nHollywood Camera Exchange\n1600 Cahuenga Blvd., Hollywood, Calif.\nCable: Hocamex\n\nNew precision test reel for projection and sound. Developed by a prominent SMPE member. Combination visual, sound tests for all soundtrack adjustments. Indicates travel ghost, sidesway, picture jump, etc. Contains visual targets and constant level frequencies.\nScene 33 (Fade-in) (Medium-close.): Paul and Marie stop outside his apartment house. They leave the car and enter the building.\n\nScene 34 (Medium): Interior Paul's apartment. The door opens, and Marie enters. Paul pauses to withdraw his key from the lock and follows her in, closing the door behind them.\n\nScene 35 (Insert): Paul's phone rings.\n\nScene 36 (Close-up): Paul answers the telephone.\n\nScene 37 (Close-up): Evelyn speaks into the phone, asking what Paul is doing.\nPaul reassured Marie that it was all a misunderstanding; she wanted her back. In Scene 38 (Medium), Paul spoke to Evelyn over the phone, beckoning Marie and embracing her with his free arm as he talked. He informed her that Marie would legally be keeping house for him and advised Evelyn not to call him again, as Marie was jealous. Paul hung up the phone and embraced and kissed Marie.\n\nIn Scene 40 (Medium), as Evelyn hung up her phone, she paused reflectively and quickly flipped through the pages of a notebook, finding a number and dialing it.\n\nScene 41 (Medium) showed Andre Saffron, another smooth and oily man, picking up his phone and delighted by the sound of Evelyn's voice. He spoke animatedly and enthusiastically.\n\nScene 42 (Medium) depicted Evelyn speaking into the phone with a silky, saccharine tone.\nPressure on her face as we fade-out.\n\nBell & Howell, 170\u00b0, silenced for sound, three lenses, F2.7 sunshade, tripod. 400 ft. magazines, $1060.00. Eyemos, Devrys, Debrie lenses, accessories, Mitchell Cameras for rent.\n\nCamera Mart, Inc.\n70 West 45th St. New York City\nWe 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.\n\nWestern Electric Interlock Motor mounted on door for Mitchell Standard Camera.\n\nCamera Equipment Company\n1600 Broadway New York City\nTel. Circle 6-5080 Cable: Cinequip\n\nUsed 18-inch sun spots\u2014 in good working condition with cable, stage plug, bail.\n\nBardwell & McAlister, Inc.\n7636 Santa Monica Blvd. Hollywood, Calif.\nComplete Mitchell Camera Outfit.\nWanted: Akeley Gyro tripod. Valente, 119 W-57th St., New York City. Circle 7-0790.\n\nWanted 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.\n\nClassified Advertising, American Cinematographer, June 1939.\n\nPrecision-made by Bell & Howell. Filmo 8 millimeter equipment.\n\n1. Filmo 8 \"Compagnon.\" Palm-size, single lens seat, and F 3.5 universal focus lens. Four speeds: 8, 16, 24, and 32 fps, and single-frame exposure. Built-in spyglass viewfinder with masks for use with telephoto lenses. $49.50.\n\n0. Filmo 8 \"Sportster.\" Same as \"Compagnon,\" but with F 2.5 lens, and speeds 8, 16, 24, and 32 fps.\nThe New O FILMO 8 Projector: automatic reset film footage dial, de luxe features, low price. Brilliant, rock-steady pictures, camera-matched film-registering mechanism, silent gear drive, power rewind, \"floating film\u201d protection, and clutch for still projection. Choose between 400- or 500-watt lamp. FILMO TURRET 8-\"ARISTOCRAT,\" mounts three lenses and matching finder objectives on turret for instant readiness for all picture opportunities. Straight-through-the-lens critical focuser and new \"positive\u201d finder. With F 2.5 lens.\n\nBell & Howell Company\n1848 Larchmont Ave., Chicago, Ill.\n\nFilm 16 Millimeter Equipment\n\"Shelloading\" Filmo 141. A new 16 mm magazine-loading camera.\npermits instant interchange from color to black-and-white film even in mid-reel. Has new \"positive\u201d viewfinder preventing errors in composition. Its color-corrected F 2.7 lens is interchangeable with full range of special-purpose lenses. New low price, $115 for 16 mm FILMOSOUND \"ACADEMY\". For sound movies at home or in auditoriums. Projects both sound and silent films. Has provision for adding microphone or turn-table. Complete with 750-watt lamp, powerful amplifier, and 1600-foot film capacity. Now priced at $298\n\nFILMO \"FILMASTER\" 16 MM. Silent PRO-JECTOR. Includes deluxe features at lowest cost. Has gear drive throughout, even to the feed and take-up spindles; gear-driven power rewind; pilot light; condenser for 32% brighter pictures. With F 1.6 lens and 750-watt lamp, 400-foot film capacity. $139\n\nGet the Bell & Howell FILMO You've been wanting.\nYou probably own a movie camera, and undoubtedly it has provided untold pleasure and diversion. However, your skill has likely outgrown that camera, and now you require a versatile Filmo to obtain the quality and variety of movies your skill deserves. Filmo prices have recently been reduced, so get your Filmo before your vacation! Choose it from the models pictured here. All Filmos are built to professional standards by the makers of Hollywood's preferred studio equipment.\n\nThe Mitchell Studio Camera\nMeets Studio Requirements\nFor a Silent Camera\n\nFast and Convenient to Operate\nMitchell Camera Corporation\n665 North Robertson Boulevard\nWest Hollywood, CA\nCable Address \"MITCAMCO\" Phone Oxford 1051\n\nAgencies\n\nBell & Howell Company\nChicago, New York, Hollywood, London\nEstablished 1907\nBELL & HOWELL, London, England\nCLAUD C. CARTER, Sydney, Australia\nD. NAGASE & CO., LTD., Osaka, Japan\nMotion Picture Camera Supply Co., New York City\nFAZALBHOY, Ltd., Bombay, India\nH. NASSIBIAN, Cairo, Egypt\nJuly 19--\nForeign 35c\nPublished in Hollywood by\nAmerican Society of Cinematographers\nErpi's Revolutionary Vocoder\nNew Weston Meter\nPreparations Pay Dividends\nSherlock\nBuilding Movies Around Music\nSpringman\nMarshall Gets Air Thrill\nBlaisdell\n\"oolittle Builds Rewind\nStull\nTime and Temperature vs. Test\nMillard\nDye Transfer Enters Commercial Field\nHoke\nBritisher Talks of Hollywood\nYoung\n\"yrone Power Records\nAndes\nStull\nStruss at Paramount in Vertical Shot\nSuperior is your best assurance of a beautiful screen result.\nSuperior, famous as a negative, not for any one photographic quality, but because it is an unexcelled combination of all.\nIn your next production, rely on Du Pont Superior Pan. Its proven versatility lets you work with confidence at all times.\n\nDu Pont Film Manufacturing Corporation INCORPORATED\n9 Rockefeller Plaza SMITH &. ALTER, LTD.\nNew York, N.Y. 6656 Santa Monica Blvd.\nPlant Parlin, N.J. Hollywood, California\n\nBETTER QS for BETTER LIVING through CHEMISTRY\n\nAmerican Cinematographer \u2022 July, 1939\n\nThe versatile Bell & Howell Eyemo was always superior in the field of portable cameras. Now, with many important changes incorporated in the new models, it is even better than before. Eyemo is instantly ready to master any emergency in the studio or the field. It can be equipped with a tripod, 400-foot magazines, electric drive (synchronized with a sound recorder), and other studio camera accessories. Or it can be quickly stripped down to a light, portable camera.\nCompact spring-driven hand camera. Eyemo has focusing and diaphragm controls visible through the viewfinder. Standard S.M.P.E. sound aperture, vibrationless governor, and other features. Bell & Howell Company, 1848 Larchmont Ave., Chicago; 30 Rockefeller Plaza, New York; 716 N. LaBrea Ave., Hollywood; 13-14 Great Castle St., London. Est. 1907.\n\nNew Eyemo Model Q, equipped with external 400-foot magazine and offset turret. Note new flat base.\n\nNew Eyemo Model M, with compact turret and crank and spring drive. Note new flat base.\n\nNow! The Versatile Improved!\nBell & Howell Company\n1848 Larchmont Ave., Chicago, Ill.\n\nSend complete details about the new improved Eyemos.\n\nName .\nAddress .\n\nImportant Improvements:\n- A new flat base gives perfect seating on any flat surface. Base is 22\" x 22\".\nTwo dowel holes in base ensure perfect camera alignment. Every lens can now be locked in focus with a new setscrew, positive locking device. A new locking device, for use with the offset turret, assures alignment even with long, heavy lenses. Detachable cord now supplied with electric drive models. And other basic improvements.\n\nJuly, 1939\nAmerican Cinematographer 291\n\nAmerican Cinematographer: A Technical and Educational Publication on Motion Picture Photography.\nPublished monthly by the American Society of Cinematographers, Inc.\n1782 North Orange Drive, Hollywood (Los Angeles), California\nTelephone Granite 2135\n\nJohn Arnold, President\nAl Gilks, Secretary-Treasurer\n\nContents\n\nBy George Blaisdell: Just here and there.\nDeath of Frank B. Good.\nSound men witness remarkable Vocoder tryout.\nHigh sensitivity featured in new Weston meter.\nA1 Gilks new secretary-treasurer A.S.C.\nWalker wins May camera award.\nAir camera club pays honor to Fremont High.\nSt. Paul\u2019s club puts on show at second annual.\nBritish cinematographer talks of Hollywood.\nBy Fred Young, F.R.P.S.\nShoot three-dimension pictures with Polaroid.\nInstall two theatres in famed film library.\nTyrone Power\u2019s camera records Andes.\nBy William Stull, A.S.C.\nMines Bureau revises four petroleum films.\nTime and temperature versus test for negatives.\nBy Irving Millard\nB & H extends to West preservative method.\nDye transfer enters commercial field.\nBy Ira Hoke\nDoolittle builds rewind and film viewer.\nBy William Stull, A.S.C.\nAmprosound Model UB in hands of Ampro dealers.\nMarshall and Clarke get air thrill.\nBy George Blaisdell\nModern Movies installs optical 16mm. to 8mm. printer.\nKodak puts on market its Supermatic shutter.\nBy Ormal I. Sprungman, James A. Sherlock - \"Building Movies Around Music\"\n\nMethodical preparations pay dividends.\n\n\"Feminine Foolishness\" by Cinemaker\n\nThe Cover\n\nAt the Paramount Studio, Karl Struss, A.S.C., director of photography on \"Island of Lost Men,\" supervises a vertical shot. In the left upper corner is J. Carroll Naish, featured with Anna May Wong. Directly behind the camera is Director Kurt Neumann. In front of the director and lying under the camera is George Clemens, operative cameraman.\n\nStaff\n\nEditor: George Blaisdell\n\nStaff Correspondent: Reed N. Haythorne, A.S.C.\n\nTechnical Editor: Emery Huse, A.S.C.\n\nAdvisory Editorial Board:\nVictor Milner, A.S.C.\nJames Van Trees, A.S.C.\nFred W. Jackman, A.S.C.\nFarciot Edouart, A.S.C.\nFred Gage, A.S.C.\nDr. L. A. Jones, A.S.C.\nDr. Herbert Meyer, A.S.C.\nCirculation Manager\nL.F. Graham\nNew York Representative\nS.R. Cowan, 19 East 47th Street, New York.\nPhone Plaza 3-0483.\nForeign Representative\nGeorges Benoit, 100 Allee Franklin, Pavillons-sous-Bois, Seine, France.\nTelephone LeRaincy 13-19.\nAustralian Representative\nMcGill\u2019s, 179 Elizabeth Street, Melbourne, Australia.\nNeither the American Cinematographer nor the American Society of Cinematographers is responsible for statements made by authors.\nEstablished 1920. Advertising Rates on application.\nSubscription: United States, $2.50 a year; Canada and the Pan-American Union, $2.50 a year; Foreign, $3.50 a year.\nSingle copies, 25c; back numbers, 30 cents; foreign, single copies, 35 cents; back numbers, 40 cents.\nCopyright 1939 by American Society of Cinematographers, Inc.\nEntered second class matter November 18, 1937, at the post office at Los Angeles, California, under the Act of March 3, 1879.\n\n292 American Cinematographer \u2022 July, 1939\n\nHighest Quality - Unfailing Dependability\nYou can depend on these films to turn in the results for the toughest jobs on the lot. They are produced under the most modern, scientific conditions, made by America\u2019s oldest photographic manufacturer, manufactured with an extra margin of quality. Next time use Agfa!\n\nSUPREME\nULTRA-SPEED PAN\nINFRA-RED\nPOSITIVE\nSOUND-RECORDING\nMADE IN AMERICA BY AGFA ANSCO CORPORATION in Binghamton, New York\nAGFA RAW FILM CORPORATION\nHollywood\n6424 Santa Monica Blvd.\nTel: Hollywood 2918\nNew York\n245 West 5 5th Street\nTel: Circle 7-4635\n\nJuly, 1939 \u2022 American Cinematographer 293\n\nJust Here and There\nBy George Blaisdell\n\nThe June gathering of the Los Angeles Cinema Club was listed.\nas a special dinner meeting. It was marked as a particularly successful one from several important viewpoints. Among these were the number and quality of films submitted in this \"uncut 100-foot reel contest.\" The 100-foot reel was the maximum length. Several were submitted of 50-foot length. The handling of the exhibition was most efficient. This will be another story in fact. As one member loaded the projector, another sitting opposite him with his own device for rewinding was doing that in a most speedy way. Before the loading was completed, the rewinding was finished. Then the chairman, when the last of the four judges was through with his notes, gave the word for darkening the room. The film was on the screen in jigtime. There were three prizes to be distributed at the end of the showing.\nA committee of four judges quickly had their report on the three highest-ranking subjects. These were presented to the members, who were entertained in the meantime with a non-contesting short. The three selected films were then run again for the consideration and judgment of the members.\n\nThe members voted on only one subject, each considering it the best. The first prize went to the top film, and the second and third prizes were awarded accordingly.\n\nThe plan was the committee's, which was carried out without incident and seemed to promise a smoothly running competition, with no occasion for holding any inquest whenever two disappointed partisans came together.\n\nFormer Chief of Police Davis was a member of the committee. His judgment was included.\nThe keenest appreciation for picture values is fortified by a memory for praiseworthy details and otherwise noteworthy ones, deserving of a veteran bridge player. When the committee discovered a difference of opinion, with two favoring the inclusion of a certain picture in the three winners and two others, the matter was swiftly resolved by flipping a coin as to which one should be favored. At the chief's suggestion, the identity of the loser was revealed to the members.\n\nAt Laguna Beach for the Memorial Day weekend, there was an unusual incident. A small boy was walking between a man and a woman, clearly his parents, down a lane leading to the ocean. He was holding their hands, skipping from side to side, and feeling exceedingly gay.\n\nThe tide was high and the surf was pounding, smashing and roaring over the shore.\nThe lad came to ledges of hardened sand. The sky bore an ominous look. As the lad came within view of the breakers, he suddenly stopped. Terror spread over his face. He grabbed his mother and screamed. She put her arms around the child and tried to assure him there was no danger, but at the same time, she led him away from the surf. She saw the look of concern in the bystander's eyes.\n\n\"You know he never before saw the ocean,\" she explained.\n\nA young man came down on the beach with a surfboard. Jumping around him and barking loudly was a small, black dog. The young man conveyed the board to the water.\n\nFrom Paramount studio came a bride and groom. The bride was Madeline Lieurance, make-up department secretary; the groom was Malcolm Bullock, still photographer. To the latter's associate, Talmage Morrison, we are indebted for this information.\nA still commands a place of honor in the future home of the Bullocks. Outside, the surf and the dog continued to bark and prance. In a few moments, the board and its rider came tearing to shore. The barking was renewed. The rider picked up the dog and a bit later, rider and dog were aboard the plank. The barking suddenly stopped. The pup was frightened but game. At least he was with his master. A camera was unslung, awaiting the rush of man and dog to shore. It must have been three quarters of an hour before the man took a move in that direction. Finally, he came, with the dog, shrinking, timid perhaps but silent, sitting tight. The board came through the breakers and floated into shallow water. The dog hounded ashore and barked as he ran. Then he jumped into the shallow water and ran toward the board.\nHe loved the board less but his master's companionship more. On the land side of Laguna is a hill, over a thousand feet in elevation and possibly much more, locally known as \"Top of the World.\" Just over the crest is a sudden descent to the floor of a valley, with a winding stream flowing across it. Hills pile up behind gradually, attaining the dignity of mountains. Cattle are scattered over hill and valley in seemingly small groups. In the scores of square miles within the range of the eye, there is but one homestead visible. Sitting by the roadside, one is conscious of the silence. Suddenly, it is broken by the distant bellowing of cattle, so far distant as to be hardly visible. Away from the roadside and off in the fields or desert, a quarter mile away, the silence is transformed.\nIf you visit this resort town sixty miles south of Los Angeles, you'll encounter a hum, almost a roar, of bees - millions of them. If you're packing a camera, you'll be rewarded by a visit to \"Top of the World.\" You can identify the location by a grove of trees at the crest. The tenderfoot may gain an idea of the vastness of ranch areas in lands far from the madding crowd when he sees, with his own eyes, a view that can be found within a five-minute ride from the crowded highway. It will be a gloriously impressive view he will carry with him for days to come.\n\nAt Pantages on the last day of May, Universal previewed a picture titled \"The Sun Never Sets.\" This film tells a story of England's Empire, as its title suggests. (American Cinematographer, July 1939)\nThe fact that it is a story of men rather than men and women in no measurable way militates against its interest. Douglas Fairbanks Junior and Basil Rathbone are supported by Lionel Atwill, C. Aubrey Smith, and Melville Cooper among others in a stern drama and a great story. The British Empire is expected to put its stout shoulder to its support, but theatergoers of every country that stands for pride of race will find in its theme an abundance of thrill and stimulation. Some pictures undergoing preview are fortunate in colliding with a weak sister in production that holds down the theater. Universal bumped into Howard Hawks\u2019 Columbia production of \u201cOnly Angels Have Wings.\u201d Powerful as that subject is, it detracted in no way from the one under preview. It was an unusual pair of pictures.\nOne fortifying and making stronger its companion. In theme, one was the antithesis of the other. The Universal production was a tale of first families, of great families. Columbia\u2019s was of the everyday run of the mine man and woman, their forbears unheralded and unsung. Yet, in each, whether of first family or otherwise, men battled daily problems in the same way.\n\nIt was a rare pair to draw. In the New Academy Review Theater, which is conducting a series of old favorites, Douglas Fairbanks Senior\u2019s \u201cMark of Zorro\u201d was shown early in June. The picture was released in 1920, nineteen years ago. The subject was of genuine interest in several ways aside from that attaching to its drama.\n\nIn the first place, pictures that ante-date the coming of sound are usually killed for public presentation by reason of the speed at which they are run.\nPhotographed at sixteen seconds, they are shown on projectors adjusted to be run at a speed of twenty-four seconds. That is why a ten-year-old picture always meets ridicule from an audience when shown in a theater. It is run half as fast as when originally photographed. The opinion of those in the house, at least a great majority of them, is that it was photographed as they see it on the screen. Don Gledhill, executive secretary of the Academy, made sure this wouldn't happen. He installed a projector that could be adjusted to the pre-sound basis. So was shown \"Mark of Zorro,\" shown as it was photographed. The print proved to be in excellent condition.\n\nThere was a plenty of difference in the way of interpretation, however. The use of titles as a means of conveying meaning.\nA young man of perhaps twenty-five years, with earmarks of a smart alec but the ways of an old pest, was the offender at the conclusion of the showing. He insisted on reading titles aloud, benefiting himself or others. The showing of titles resurrected this forgotten pest on the occasion in question. The athletic and acrobatic Senior, renowned in his specialty, was the first in his field.\nThe last. Universal may have performed a public service when it secured the release of Gilbert & Sullivan\u2019s \u201cMikado\u201d in Technicolor. Pictorially, color enhances the beauty of the subject. Without saying, good color does just that. But in \u201cMikado,\u201d there are other factors. There is the matter of singing, individually and collectively. The chorus is of the D'Oyly Carte opera company, which was an institution when men now old were young, and in which forty or whatever the number may be sing like one. The principals are all trained not only as singers but as singers in Gilbert and Sullivan parts, so skilled in their work that the tongue-twisting lyrics of these famous unsucceeded composers fall from their lips with the ease and smoothness of rolling down a slope. The roles are handled with the surety and poise of professionals.\nThe music is recorded by the London Symphony Orchestra. The picture is adapted, conducted, and produced by Geoffrey Toye. It is directed by Victor Schertzinger, trained in Hollywood's techniques and traditions.\n\nThe following factors have covered the major aspects of making a musical:\n\nThe \"adaptation\" was a shadow. The death of Frank B. Good, A.S.C., occurred on May 31 due to a fatal heart attack. His death was a shock to his friends and associates, made greater by its suddenness and total unexpectedness. For years, he had been the society's secretary, and just a few days before his passing, his fellow board members had honored him by adding the duties of treasurer to his work.\n\nFrank Good will be remembered.\nHe was one who aimed to do the right thing rather than the thing which seemed expedient. He was 54 years old. He leaves a wife, Mary Doloi\u00e9s. The script was followed. Director Schertzinger worked from Gilbert\u2019s original ms, complete with marginal notations. The opera was reproduced as it was produced in 1885. It was a new screen technique, flying in the face of producer interpretation of the public\u2019s musical taste and in the face of the low level of taste that had been dug for that taste by altogether too many tired and indifferent composers of the day. And the recording was in the same manner as was employed by Universal in the making of \u201c100 Men and a Girl.\u201d It is still a remarkable picture. That is one man\u2019s opinion, of a non-musician admittedly, who is convinced this opera, fifty-five years old, is going.\nTo carry remarkable appeal to every land where English is spoken. It is his belief that quite ill-founded is the Hollywood timidity implied and expressed in a few vocal quarters that the subject will go flop when shown among those who may have failed to attain that certain exclusive and localized plane of sophistication. But don't be misled. Go see it for yourself. And if in that opera and in that performance of it you and others discover something in the way of genuine entertainment quite delightfully different from anything being created generally today, of painstaking lyrics that seemingly are unmatchable, then indeed has Universal performed a public service in bringing to us \u201cMikado\u201d in all the accumulated glories of a rich half-century.\n\nThe local fire department paid a visit early in the morning of June 7 to the\nThe American Society of Cinematographers' Hollywood headquarters prevented a fire from causing total destruction. Firemen arrived just in time and efficiently extinguished the blaze without significant water damage. In the following weeks, builders rebuilt the damage. Fred Coleman, in charge of the plasterers, mentioned he had worked on the house, having put in the plaster when it was built by Coffin and Son, real estate men, over twenty-five years ago. Later, Conway Tearle owned the property at 1782 North Orange Drive and lived there for many years.\nWood Boulevard leads to Franklin Avenue, which for many years has been filled with homes. The house, erected in 1782, stood alone then. Coleman recalled a characteristic of the house's construction: every piece of wood, large and small, put into it was white cedar. He suggested parallel construction was rare these days and might be somewhat prohibitive in many cases.\n\nAmerican Cinematographer 295\nOfficial Statement\n\nSound Men Tryout\n\nOn the evening of Wednesday, June 21, in the review room of Electrical Research Products Inc., sound department executives and engineers of Hollywood major studios witnessed a demonstration of the machine known as the Vocoder.\n\nThe machine, which with the strongest of reasons might better be described as The Cabinet of Doctor Somebody, is contained in a structure perhaps seven feet long.\nThe square and high device was developed by Homer Dudley and his associates in the Bell Telephone Company. Mr. Dudley and his assistant, Charles Vadersen, were delegated by the company to come to Hollywood. While Erpi's representatives state the work on the device is in an experimental stage, it is unquestionable that the company has something revolutionary by the tail. It is a fact that likely caused Erpi's heads to depart from precedent in sending to the West Coast equipment on which they had not set the seal of their final approval \u2013 and with it, delegating men connected with its creation. The Vocoder was developed primarily for telephonic use. Therefore, men schooled in the ways of sound will be impressed by it and its possibilities.\n\nPossibilities Unlimited.\n\nOn the other hand, men trained in other fields will be intrigued by its potential applications beyond telephony. The Vocoder, a remarkable invention, has the ability to reproduce and transmit human speech electronically. This innovation holds significant implications for various industries, including education, entertainment, and communication.\n\nThe device functions by converting speech into electrical signals, which are then transmitted through telephone lines or wires. At the receiving end, these signals are converted back into speech, allowing for real-time communication between parties, even when they are geographically distant.\n\nIn the realm of education, the Vocoder could revolutionize the way students learn. Teachers could record lectures and send them to students, enabling them to review the material at their own pace and convenience. Additionally, students could participate in virtual classrooms, engaging in discussions and collaborating on projects with their peers in real-time.\n\nIn the entertainment industry, the Vocoder could transform the way we consume media. Live performances could be broadcasted to audiences worldwide, allowing them to experience the energy and excitement of a concert or theater production from the comfort of their own homes. Furthermore, the technology could be used to create innovative new forms of media, such as interactive stories or immersive experiences.\n\nCommunication, too, would be significantly enhanced by the Vocoder. Businesses could use the technology to facilitate international calls, enabling them to expand their reach and connect with clients and partners from around the world. Additionally, the technology could be used to improve emergency response systems, allowing for faster and more effective communication between emergency services and those in need.\n\nIn conclusion, the Vocoder, a remarkable invention developed by Homer Dudley and his associates, holds immense potential for various industries. Its ability to reproduce and transmit human speech electronically opens up a world of possibilities, from revolutionizing education and entertainment to enhancing communication and expanding business opportunities. The future is bright for this groundbreaking technology, and its impact on our world is sure to be significant.\nproviding  entertainment  for  the  masses \nwill  be  bound  to  envision  its  possibili\u00ac \nties  as  limitless. \nBut  note  the  coldly  formal  manner \nin  which  the  company  officially  describes \njust  what  this  machine  accomplishes. \nIt  first  characterizes  it  as  an  electrical \ninstrument  that  investigates  and  an\u00ac \nalyzes  speech  and  then  proceeds  to  re\u00ac \nmake  it  in  practically  any  form  desired. \nTo  the  layman  it  does  that  100  per\u00ac \ncent. \nNow  while  the  Vocoder  was  developed \nbasically  for  telephonic  use,  it  also \nplays  an  important  role  in  the  Voder, \nthe  device  for  manufacturing  artificial \nspeech. \n\u201cMr.  Dudley  and  his  assistant  showed \nhow  easy  it  is  to  change  the  pitch  of  a \nvoice,  reverse  voice  inflection,  raise  a \nbaritone  to  a  tenor  or  soprano,  or  lower \nit  to  base  tone.\u201d \nThey  did  more  than  that. \nOne  of  the  most  thrilling  sequences \nwas  the  brief  period  in  which  young \nVadersen sang a trio. His voice was uttered to the machine as a solo. It emerged from the speaker as a trio. It was a simple matter of using his normal voice. Then he set a key which switched on another wire a few points below his own voice and then another that registered a few points above his own. So far, the device has developed only thirty ranges. Still, this would seem sufficient to give pause to musicians of the world. It touches every phase in the realm of music. It can build up or it can tear down. It can do much on the serious side of entertainment. And in the cartoon field? \"Snow White,\" which many believed would stand for years as the peak of entertainment, is already passe. For now, it may be told that the Dis-\nThe imagination may truly run wild with voices of boys and girls, men and women, ogres and hobgoblins, such as Donald Duck singing in a trio. The company will share its story:\n\nThe presentation of the instrument to the studio sound executives was intended to acquaint them with the newly developed machine and to consider its potential use in motion picture sound recording, possibly with modifications.\n\nThe usefulness of the Vocoder in speech studies lies in its ability to vary, individually or collectively, each element of speech. The raw material of speech consists of two streams of sound. The first sound stream is characterized by three properties: it has a pitch, which is determined by the fundamental frequency of vibration; it has an intensity; and it has a waveform or shape. The second sound stream is the modulating stream, which determines the quality of the vowels and consonants in the speech. By combining and manipulating these two streams, intelligible speech can be produced.\nThe tension in speech is determined by the total sound power issuing from the speaker's mouth and is a quality determined by the relative amounts of sound power carried in fixed frequency bands. All three properties of the stream vary as it proceeds. The second sound stream is characterized by having no pitch; it has a noise and has an intensity and quality that vary as the stream proceeds. During most of the speech, only one of these two streams is active at one time.\n\nMr. Dudley proceeded to demonstrate the first mentioned sound stream, which he designated as \"the Buzz.\" It was a rich, full note, something like a muted automobile horn. From this note, electrical filters picked out thirty different overtones covering the gamut of the human voice.\n\nThe same filters then broke down the overtones into individual frequencies.\nMr. Dudley demonstrated a circuit that analyzes a voice into thirty parts and uses the results to control the proper amount of each sound before they reach the loudspeaker. He let his audience hear a test sentence before and after it had been broken down and put together. Mr. Dudley then showed how it would sound when the buzzer alone was used and its pitch was held constant: a flat monotone like a chant. By releasing the pitch so it could follow the speaker's voice, more naturalness was secured. Normal speech was converted into a whisper when the hiss was substituted.\nfor the buzz. While the hiss is relatively faint, it is essential in discriminating between \"church\" and \"shirts,\" as was then demonstrated.\n\nExpression, said Mr. Dudley, is due to the constant swinging up and down of pitch as one speaks. When the swings are cut in half, the voice seems flat and dragging; when the swings are full, the voice carries well and resonates.\n\n\"The new Weston Master, showing the \u2018High-Light\u2019 scale,\nA new photoelectric exposure meter,\ndesigned to meet the most critical demands of modern photography,\nhas just been announced by the Weston Electrical Instrument Corporation.\n\nKnown as the Weston Master, the new Model 715 fills such fundamental requirements as:\n(1) extreme sensitivity, for accurate measurements in low light;\n(2) increased light range, permitting measurements from 1/10 candle per square foot to 100,000 candles.\"\nThe new Master provides accurate exposure settings up to an extremely high value of 1600 candles per square foot. It offers (1) a large viewing area, (2) readability ensured by separate, automatically changing \"High Light,\" \"Low Light\" scales, (3) a more selective and sharply directional viewing angle for measurements in high brightness, as well as for cinematography and color work, and (4) an increased number of exposure values (f-stops, shutter speeds, film speeds). The Master's extreme sensitivity ensures accurate exposure settings even in light as low as 1/10 candle per square foot. In a room where a subject is seated near an average reading lamp at night, the brightness value normally approaches an intensity of about 5 candles per square foot. Therefore, the Master exposure meter has over 50 times the sensitivity required for such measurements.\nThe Master is particularly adapted for use in the studio or for professional work, as well as for amateur needs. Its greatest importance is the maximum readability provided by the new feature \"High Light.\" For measurements in low brightness, the louvre is snapped down into the left position. The scale reads zero to 50 candles per square foot. For high brightness measurements, the louvre is snapped to the right position. The scale then reads zero to 1600 candles per square foot.\n\nJuly, 1939. American Cinematographer 297.\n\nFull-size view of the Master's \"Low-Light\" scale.\n\n\"Low Light\" scales, especially where measurements are being made in extremely low brightness.\n\nWhen photographing is done indoors or elsewhere in low light, the hinged louvre is merely snapped into position as described in illustration 1. At the same time.\nThe \"Low Light\" scale automatically appears on the Master, calibrated from 0 to 50 candles per square foot. With a span of only 50 candles per square foot, rather than the entire light range from low brightness to high brightness, the Master's \"Low Light\" scale has wide divisions and bold numbers, avoiding the congestion of confusing numbers typically found at either end. As a result, the pointer on the Master moves a greater distance for a given amount of light, making the movement easily seen and the light number always easy to read, even in extremely low light. However, when photographing is done outdoors or in other high brightness conditions, the louvre is merely snapped into the opposite position. The \"High Light\" scale.\nThe scale now appearing has a range up to 1600 candles per square foot. This top value permits readings in brightness far higher than ever before possible with pocket meters. When the \u201cHigh Light\u201d scale is in use, the viewing angle of the photocell is only 30 degrees. This limited angle excludes extraneous side and top lights, a feature essential for cinematography and color work and one which provides greater accuracy for all still work in high brightness.\n\nPrepare for Future\n\nThe calculator dial on the Master also is of new design with bold, legible figures. It provides an increased number of f-stop and shutter combinations due to the great increase in the light measuring range of the meter. The dial also provides for film speed ratings from 0.3 to 800 Weston, to address possible future requirements of high-speed films.\nThe ease of operating the film speed dial is ensured by the button at the side. When the button is depressed, the dial moves freely. When the button is released, the dial locks in the desired position.\n\nIn designing the new Master, particular attention was given to the size of its component parts to assure the highest degree of accuracy and ruggedness. The entire instrument movement, including the jeweled bearings, the resistance coils, and the permanent magnet, is big and rugged \u2013 large enough not only to be precise, but also to stay precise in service. The photoelectric cell is hermetically sealed in a moisture-proof housing, assuring stability under all humidity and temperature conditions, in addition to ensuring higher order of accuracy and longer life.\n\nStreamlined, functional design has been employed in the new Weston meter.\nThe molded case produces a compelling, modern appearance and fits comfortably in the hand. The outer edge of the case is ribbed to prevent fingers from slipping when using the meter. A decorative chromium strip around the edge forms a sturdy eyelet at one end, to which a silk ribbon cord is attached for convenience in carrying. The Master is priced at \u00a724.\n\nFord sponsors photographic contest for amateurs worldwide at the New York Ford Exposition during the World's Fair. Four Ford V-8 De Luxe Fordor sedans, $2500 in cash prizes, and 400 certificates of merit will be awarded. Amateur contestants must visit the New York Ford Exposition. Details may be obtained from Ford or photographic dealers.\nAl Gilks, veteran member of the American Society of Cinematographers and long-time Board of Governors member, has been elected secretary-treasurer to succeed the late Frank B. Good.\n\nAmerican Cinematographer \u2022 July, 1939\n\nJoseph Walker, A.S.C., won the photographic honors for May in the Hollywood Reporter Preview Poll. The picture was Columbia\u2019s \u201cOnly Angels Have Wings,\u201d directed by Howard Hawks, starring Jean Arthur and Cary Grant. The picture also marked the return of Richard Barthelmess to the screen.\n\n\u201cOnly Angels Have Wings\u201d was one of the first pictures to employ Plux X film. At the time, Walker was photographing this picture, none of the productions made on this film by other studios had been released for showing. This meant that Walker was entirely on his own as far as knowing how to use the Plux X film effectively.\nX would look at the screen. According to The Hollywood Reporter Poll, there seems to be no doubt that he had found the film very much to his liking. Walker went about handling the new film by placing a great deal of dependence on his exposure meters. He has several; some of which he has used continually for several years. He has noticed a decided change in attitude toward meters on the part of studio cameramen.\n\nAttitude Changes\n\nThe ribbing that some of his associates indulged in at his expense when the exposure meter was new has given way to an entirely different attitude now that the exposure meter is universally used on practically every motion picture set in Hollywood.\n\nThe meter is a great help when several photographic units are working on a big production, as all of the various units can ensure consistent exposure levels.\nUnits can compare meter readings when working on similar sequences, keeping the basic lighting scheme at a given level. A number of separate photographic units were used on \"Only Angels Have Wings.\" They were, as Walker recalled, Elmer Dyer, A.S.C., and Charles A. Marshall, A.S.C., who made the actual shots in the air. In charge of other units were Russell Metty, A.S.C., George Meehan, A.S.C., and Andre Barletier, A.S.C., who photographed the very fine miniatures.\n\nCooperation Counts\n\nWalker was quick to point out that a great deal of the credit for the photography for a picture of this type is due to the excellent personnel in charge of the special units and their close and willing cooperation with the main unit at the studio.\n\nWalker is engaged at present in photographing Frank Capra\u2019s \u201cMr. Smith Goes to Washington,\u201d which is the latest.\nDirector Frank Capra and Director of Photography Joseph Walker, A.S.C., take a few minutes off at Columbia's studio. Capra is president of the Academy of Motion Picture Arts and Sciences and the Screen Directors' Guild. Walker is a member of the board of governors of the A.S.C. They have been teamed on many popular pictures, including \"It Happened One Night,\" \"Lady for a Day,\" \"It's a Wonderful Life,\" \"Mr. Deeds Goes to Town,\" \"Lost Horizon,\" and \"You Can't Take It with You.\" The association between the two men dates back to 1927.\nThe writer joined Columbia and the membership has been uninterrupted. The writer was privileged to sit behind the camera for an hour during the making of the present picture and was given a clearer understanding of the reasons underlying Frank Capra's success. His close contact with the director of photography gives him unusual knowledge of the difficulties that have to be surmounted by the camera and the men behind it, bringing consideration for their work.\n\n\"American Cinematographer 299: AIR Camera Club Pays Honor to Fremont High\n\nThis is an action shot of the photographic \u201cfree-for-all\u201d that followed the Columbia Camera Club\u2019s entertaining air meeting of Monday, June 5, at which the guest was a seventeen-year-old high school student, Mark Kauffman.\n\nEach week during its quarter hour meeting over KNX and the entire West Coast, the Columbia Camera Club holds an air meeting where members show their latest work and discuss techniques and equipment.\"\nThe Columbia Broadcasting System's network welcomed an outstanding photographer, Mark Kauffman, as their guest. Nine days after his exceptional portrait of Eleanor Roosevelt graced the cover of Life Magazine, Mark served as Commentator Maurie's esteemed visitor. In his pursuit to understand Mark's remarkable skill with a camera, Maurie learned that Mark had attended the largest high school photographic class in the West. Consequently, an invitation to attend the broadcast was extended to the fifty other members of the vocational photography unit at John C. Fremont High School in Los Angeles. They all came, each armed with cameras, flashguns, and ample film holders. Alongside Mark, Clarence Bach, the class head, and Art Rogers, a class member, also appeared.\nWho takes the preparation photos for The Los Angeles Times? Lillian Don, the eighteen-year-old head of the school's portrait gallery, does. All four turned in top performances at the microphone, to the loud acclaim of their classmates when the program was concluded. Each Monday night at 9:45, Columbia's Camera Club meets with Maurie Westster, who conceived the idea of the program. They find the entertaining, unusual, and instructive stories about photography that have made the program an outstanding West Coast radio show. It has been designed not for the advanced amateur, but for his little brother\u2014the box camera fan. He has found it an ideal place to learn more about photography, but most of all, a source of inspiration to use his camera more frequently.\n\nProof of that fact is the club's membership list of six thousand listeners.\nThe west who have written for membership cards in the club, and a great many of whom have listed their present camera equipment.\n\nEnlarge Kodachrome Plant for West Coast Processing\n\nWith the construction of a new building in Hollywood, the Eastman Kodak Company will bring additional service to the coast for the processing of Kodachrome film.\n\nFor over a year, 8mm. and 16mm. Kodachrome for amateur movies has been processed by Eastman in Hollywood. With the construction of the new plant, there will not only be greater facilities for handling amateur movie film but inaugurates the processing of 35mm. Kodachrome used in miniature \u201cstill\u201d cameras such as Kodak Retina, Kodak 35s, and Bantams, and professional (cut sheet) Kodachrome.\n\nIt is now necessary for still camera men on Hollywood lots to send their 35mm. or professional (cut sheet) Kodachrome.\nchrome shots to Rochester for processing. This all takes time. With the opening of the new plant in the early fall, processing capacity will be more than doubled, thus assuring much faster service than heretofore obtainable.\n\nReport on Preservatives\nThe Research Council of the Academy of Motion Picture Arts and Sciences has issued a comprehensive report on film preservatives available to the industry for treatment of release prints. This report, which is being circulated for the information of motion picture producing and distributing company executives and technicians, is based on extensive tests conducted by the Council\u2019s Committee on Improvement in Release Print Quality.\n\nLafayette Branch Moves\nAfter six years at 219 Central Avenue, the Newark (N.J.) branch of Lafayette Camera Corporation moves to its own building at 24 Central Avenue.\nThe exclusive occupancy of this building will provide two spacious sales floors, representing a three-fold increase in floor space, made necessary by the continued growth of this branch. RCA uses the Academy test for sound motion picture reproduction. Cooperating with the Academy of Motion Picture Arts and Sciences in its efforts to raise the standards of sound in theatres, the RCA Photophone Division has arranged for its field service engineers in all parts of the country to utilize the new Academy test reel for judging sound quality.\n\nDuring a recent radio meeting of \"Columbia's Camera Club,\" the guests were: Art Rogers, student cameraman for the Los Angeles Times; Mark Kauffman, who made the cover of Life Magazine with his recent portrait of Eleanor Roosevelt; Clarence Bach, head of photography for John C. Fremont high school.\nThe school is where young people study. Maurie Webster, CBS commentator, conducts the program, and Lillian Vito, the youthful head of the school's portrait gallery. 300 American Cinematographer \u2022 July, 1939\n\nCan't begin to tell the story of Eastman Plus X Negative. The screen alone perfectly presents the proof of its quality. PLUS\u2014\n\nJ. E. Brulatour, Inc. - DISTRIBUTORS - \u2022 American Cinematographer\n\nThe St. Paul Amateur Moviemakers' Club held its second annual banquet in its home city at the Commodore Hotel on June 6. Leading off the program was an address by Mayor William H. Fallon, who is a moviemaker himself. Then followed a list of five pictures.\n\nThe subjects shown were \"Nite Life,\" by J. Kinney Moore; \"Beyond Manila,\" W.G. Hahn (with musical transcription); \"Shadow's Bones,\" Frank Gunther.\nOne of the features of the evening was singing on a \"community\" basis. Mrs. Edna Marshall, the better half of Secretary Ford Marshall, was the author of the four subjects. The entire group gathered around an 8mm. projector as Mrs. Marshall played the piano. The songs were on positive film and were shown a line at a time, with a bouncing ball to count out the time. One of the songs was \"Bei Mir Bist Du Schon.\" The words for the occasion were:\n\nOh here's where we learn\nHow money will burn\nWhen we start to buy movie equipment.\nHow soon it will go\nI guess we all know\nWhen the postman says,\n\"Here's another shipment.\"\nIt's more than worth it all\nWhen we make pictures well,\nBut when they don't turn out \u2014\n\n\"Bei Mir Bist Du Schon,\" the words for the occasion were:\n\nOh here's where we learn\nHow money will burn\nWhen we start to buy movie equipment.\nHow soon it will go\nI guess we all know\nWhen the postman says,\n\"Here's another shipment.\"\nIt's more than worth it all\nWhen we make pictures well,\nBut when they don't turn out, we feel\nThe emptiness, the sadness, the despair.\nOh, how we long for that perfect take,\nFor the magic of the movies to make,\nBut sometimes it's just not in the cards,\nAnd we're left with a feeling of scars.\nBut still we try, we persevere,\nFor the love of the art, we hold it dear,\nAnd when we finally get it right,\nThe joy and the pride, it's a beautiful sight.\nWe know how to splice, make titles nice, and learned what a leader STRIP meant. In the little program issued for the banquet, we find this acknowledgment: \"We acknowledge with gratitude the courtesy of William Stull, A.S.C.; Dr. F. R. Loscher and Milton R. Armstrong, former president and secretary respectively of the Los Angeles 8mm Club, who donated their time and talent to re-record especially for our club the musical transcriptions which accompany \u2018Nation Builders\u2019 and \u2018Beyond Manila.\u2019 The original recordings, many of them imported from Europe, are from Mr. Stull's private library.\" The two former 8mm Club officers contributed their own recording outfit and their time in making electrical transcriptions of the recordings used by the third member of the trio for the program in which the two contenders for\nThe American Cinematographer's honors competed last year. The St. Paul club is making these records available to any amateur movie organization which desires to use them in connection with the films. Such organizations may address Secretary Ford Marshall, 1828 Eleanor street, St. Paul. The president of the organization is Kenneth Hezzelwood.\n\nIn January, 1937, eighteen men formed the 16 and 8 Cine Club. In the following October, the club changed its name to the St. Paul Amateur Moviemakers Club. In the same year, the club produced a film for the St. Paul Public Safety Department, \u201cSpare the Evidence,\u201d which has been widely used as a teaching film in local and national police work as well as by the Federal Bureau of Investigation. During the past year, the club has engaged in producing a documentary motion picture record of the St. Paul School Police.\nFather Hubbard will finish recording Eskimo music and chants for RCA Victor using a portable recording unit and 100 12-inch recording discs during his eleventh Alaskan expedition this summer. The recordings will be released to the public as soon as possible, with the strange music and chants, never before heard outside the far North, also being \"dubbed\" on motion picture film for use on a lecture tour of the United States.\nCaptain Dwight L. Mulkey of the Signal Corps of the United States Army, who completed an eight-month course of study in motion picture production under the auspices of the Research Council of the Academy of Motion Picture Arts and Sciences, left Hollywood last night to return to Washington. He will be engaged in the production of army training films there. While in Hollywood, Captain Mulkey spent some time in each technical department of each studio, studying actual production procedures and investigating the manufacture and operation of recording equipment. The recording unit is a newly developed instrument, hardly larger than an ordinary suitcase. Recording, amplifying, and playback equipment are all included in a single case. It records on either ten-inch or twelve-inch discs.\nOf sound recording equipment, motion picture cameras, film, and other equipment and supplies used in the studios. Under the present War Department Motion Picture Training Film production schedule, approximately twenty reels of training film are produced each year. The next officer scheduled to take the training course is First Lieutenant Harry J. Lewis, who will arrive in Hollywood from the East early in September.\n\nFour members of the St. Paul Amateur Moviemakers' Club examine the turnables and amplifier. They are, left to right, L. L. Harmon, E. E. Baumann, Lloyd Oliver, and Louis Finn. [Courtesy St. Paul Pioneer Press.]\n\n302 American Cinematographer \u2022 July, 1939\nBritish Cinematographer\n\nTalks of\nBy FRED YOUNG, F.R.P.S.\n\nDuring the many years I have been a reader of The American Cinematographer, I have from time to time read and enjoyed articles.\nI. Outstanding members of the A.S.C. have discussed their experiences making pictures in England. Knowing these men, often from working in the same studio with them as they made their productions in my country, I have been impressed by the fair-mindedness shown in their descriptions of British studios and conditions.\n\nToday I find myself in a similar position, as I have been asked to write something about my impressions as a representative of Britain\u2019s camera profession, of making a picture in Hollywood. Although the production is not yet completed, I feel that it has been a privilege and a pleasure to be able to take part in the making of a Hollywood production, and especially to be associated with Joseph August, A.S.C., in photographing Anna Neagle in the Herbert Wilcox-RKO production \u201cNurse Edith Cavell.\u201d\nThe friendship and cooperation extended to me could not have been better if I had been working at home in an English studio. This friendliness will be remembered long after much of the rest of my Hollywood visit is forgotten.\n\nFrom a less personal viewpoint, the dominant impression a British visitor gets as he works in Hollywood is the incredible abundance of Hollywood's technical resources. By this, I do not solely mean equipment or physical facilities, for in England now we have, as the A.S.C. members who have worked there have pointed out, quite a number of studios as well equipped and nearly as large as those in Hollywood.\n\nWe have many excellent directors of photography, sound engineers, art directors, and the like. But we are not so fortunate in our supply of trained technicians.\nThe lesser grade technicians \u2013 operative crews, electricians, studio carpenters, property men, \"grips\" and the like \u2013 support the work of our key technicians. We have them, but not in abundance; and few of them have the long experience of their Hollywood counterparts.\n\nThis is largely due to the way our industry in England has developed. For a long time, as is well known, it struggled along with little or no encouragement. Then a few years ago, it suddenly expanded.\n\nThe expansion was so rapid that it could be quite truthfully called a \"boom,\" and, like most overrapid booms, it was followed by a near-panic while the industry consolidated its gains.\n\nAs a result, we have not been able to offer really consistent employment, even to our more experienced men, let alone to the many less experienced ones.\nCrew breaks up. Too often, at home, you will start a picture and, when you come to assemble the crew you had on your previous one, you will be unable to do so. The operative may have gone to another studio; the young fellow you had just begun to get trained to be a satisfactory assistant will have dropped from sight, while your electrician may have grown discouraged and gone back to his old job - where paychecks came more steadily. And you will have to start anew to train a new crew from relative newcomers. Here in Hollywood, it is so different! It seems almost incredible to learn that if any of my American friends finds it for any reason impossible to use his regular crew on a new picture, he can virtually choose blindfolded from the many men available for each job - and find himself with a dependable crew.\nThe youngest of them will have had five, ten or even twenty years of studio experience. It is equally impressive to see the same is true on the other side of the cameras. Our picture, \"Nurse Cavell,\" calls for a good number of bit players and extras to represent German soldiers and officers, French and Belgian soldiers and villagers, and British nurses, soldiers and civilians. At home, with the exception of the English parts, we might have some difficulty finding enough convincing-looking Prussians, Belgians, and the like for our requirements, even in the larger supporting parts. Here, a simple telephone call brings us as many as we need, all of them not only perfect \"types,\" but thoroughly camera-ready. I am sure some of my friends at home will doubt me when I say it would be the same had we needed Chinese or Polynesians.\nNesians or Hindus in almost any number! As far as photo-technical equipment is concerned, there is very little to choose between Hollywood and one of the newer British studios. British Advantage In some respects, I think the newer British studios may have a bit of an advantage in the fact that they were either completely built from bare ground, or at least greatly expanded within just the last few years, while the studios in Hollywood were built and basically equipped many years ago. In lighting equipment we in England have the same lighting equipment for black-and-white and Technicolor that is familiar in Hollywood. In some cases we have more of the newer lamps than you, because our studios had to obtain a complete set of lighting equipment all at once, rather than getting a few new units here and there to replace or supplement.\nImplement old but still useful lamps. Stage space and sets are pretty well on a par on both sides of the Atlantic. In fact, I believe the Denham studio has one stage as big or bigger than the largest in Hollywood. There are minor differences in such details as power distribution and set-platforming, but, in general, once you get on the stage, the only thing to tell you whether you are in Hollywood or in England would be the accents of the stage crews. There is one phase, however, in which Hollywood seems definitely ahead of our British studios. This is in the matter of cameras. We use much the same type of cameras, it is true \u2014 in most instances Mitchells, though in studios where French or German cinematographers have been active there are De Bries, while a few of the smaller plants use the less expensive, British-built Vintens. Cameras Scarce.\nBut our studios are not nearly so plentifully supplied with cameras as is common in Hollywood. Some of us have tried to argue that this was false economy, but without much success. Here in Hollywood, if some accident happens to the camera you are using, you can have another one, equally dependable and of identical design, on the set in a matter of minutes. If a scene should require it, you could have five or more.\n\nJuly, 1939 \u2022 American Cinematographer 303\nShoot Three Dimension Picture with Polaroid\n\nAs absorbing as the three dimensional movie itself is the story behind the first full polaroid motion picture ever to be made, which is being shown to thousands daily in the Chrysler Motor Building at the New York World's Fair.\n\nA total of thirty-six days was required to \u201cshoot\u201d the thousand feet of film that was used.\nThe picture runs for some twelve minutes; 1,096 different \"frames\" were photographed by Loucks and Norling in creating the picture that literally makes audiences gasp. This audience reaction results from the fact that the picture leaves the screen and projects itself in front of each viewer; thus, a machine that moves forward in the picture seems to come so near that people in the audience instinctively duck or move backward, to avoid being hit by the illusory threat of impact. All visitors viewing the film wear special polaroid lenses, which are given to them as they enter. Through these, they see actual operations in the half-mile long Plymouth plant in Detroit, with stop motion pictures that show a Plymouth magically assembling itself without the aid of human hands. The various parts of a Plymouth car, numbering more than 15,000 altogether, come waltzing into place.\nCars moved in synchrony, either together or separately, under their own power, to assume their respective positions in engine, chassis, or body. All in carefully synchronized steps to the rhythm of the music.\n\nFor taking the picture, three special stages were erected. On these stages, each car part had its every different movement captured separately. Scenes involving parts moving along the floor presented no significant challenges - simple devices such as a large wad of chewing gum were employed to keep them in place once they reached their destination.\n\nHowever, making a heavy motor or an entire body sail through the air posed real technical problems. Overhead trolley tracks were constructed from which to suspend these parts on thin steel wires. To make these wires invisible, they were plucked like a banjo string at the moment of being photographed, the rapid shutter speed concealing their presence.\nVibration preventing registration on the film. The order of scenes in the film follows the actual routine in the plant. Producers recognized that Plymouth engineers had devised the order of assembly of various parts on the assembly line in such a way that the whole car could be brought together with a minimum expenditure of effort. Thus, Loucks and Norling followed this standardized assembly routine religiously. Every foot of film was assigned to its own particular \"frames\" in advance of shooting. This enabled producers to discard the ordinary cutting room practice of film assembly. Similarly, music was composed and its score adjusted to the footage before shooting commenced. The result is that inanimate objects in the picture move in exact time with the musical beat.\n\nOne of the most successful musical numbers in the film was achieved in this manner.\nThemes in the picture, as indicated by audience reactions, is an adaptation. This is the scene where the newborn chassis arises on its rear wheels to peer around the world and sing, \u201cWhere, Oh Where Can My Body Be?\u201d The tune used by the car is the familiar \u201cWhere, Oh Where, Is My Little Dog Gone?\u201d\n\nSeen With Polaroid\n\nTo create the three-dimensional effect, the scenes were photographed by a camera with two \u201ceyes,\u201d and two synchronized projecting machines are used in the specially built theatre in the Chrysler Motors Building.\n\nVisitors able to take their eyes from the exciting scenes shown on the screen can note the two beams of light carrying the images from the projection booth to the screen, where they are \u201cscrambled\u201d for the eye that views them with-\n\nINSTALL TWO\nIN FAMED\n\nOne of the most interesting features of New York\u2019s new Museum of Modern Art is this adaptation.\nThe Modern Art Building is known for its famed Film Library, where the story of the motion picture industry's development from its struggling beginnings to its present high status is preserved on movie film. In the ultra-modern Museum quarters, at 11 West Fifty-third street, two small theaters have been constructed for showing the valuable film collection to visitors for educational, non-commercial purposes.\n\nOne of the welcome visitors at the office of this magazine during the last month was Henry L. Washburn of Santa Cruz, CA. He makes good movies because he enjoys making them. He also enjoys giving pleasure by showing them to his friends, preferably from his own camera but otherwise from someone else's if he can obtain it for them. With the aid of Polaroid lenses, he captures clear separations.\nThe rate at which a picture is shown to each eye is identical, with each eye perceiving a distinct picture in real life. It is the merging of these two disparate pictures in the brain that generates the three-dimensional sensation. The old-fashioned stereopticon aimed to employ this principle, producing images with background depth. For the first time, it is now feasible to achieve depth of foreground using polaroid material. This is the reason the pictures appear to depart from the screen and enact themselves directly in front of each audience member. The screen effectively transforms into an open window, through which actors, animate or inanimate, move and fly back and forth seemingly at will. Polaroid film resembles slightly darkened cellophane. Unlike cellophane or any other material, it contains 1000 billion invisible crystals per inch. These crystals are responsible for the unique properties of polaroid film.\nTals change the shape of the light vibrations that pass through. Light comes in like a rod, goes out like a ribbon. In projection, two films are thrown on the same screen through polaroid filters, so turned that the picture for the right eye is made up of ribbons running from side to side, while the picture for the left eye is composed of ribbons running vertically. The polaroid spectacles worn by the audience have their ribbon slots arranged to correspond, so that each eye sees one picture only.\n\nTheaters Film Library purposes. The films provide a complete history of the industry's progress from the famous \u201cThe Execution of Mary Queen of Scots\u201d (1895) to the present day. Historic films from several European countries are also included in the collection.\n\nTo present the sound films in the collection, the Museum authorities have\nThe smaller auditorium, used by Museum staff for film classification and small lectures, is equipped with a small sound reproducing system. This system has been in use for only a short time in the old Museum building and was moved to the new location. The larger auditorium, in addition to new equipment for sound-film production, has an RCA public address system for lecturers. In both projector installations, special drive equipment has been installed to permit variation of film speeds from 60 to 90 feet per minute to accommodate the varying speeds of early pictures as well as modern films.\n\n304 American Cinematographer \u2022 July, 1939\n\nTyrone Power's Camera Records\nBy William Stull, A.S.C.\n\nA tall, handsome young fellow\nmoved purposefully about the portrait gallery of the Twentieth Century-Fox Studio, moving \"broadside\" lamps and spotlights into place to illuminate a row of wooden letters arranged against a gaily-colored cloth background. A few feet away stood a magazine-type 16mm. camera on its tripod. If he weren't quite so coatless and disheveled, I thought, I'd say he was Tyrone Power. But I know Ty isn't supposed to be working today\u2014and besides, who ever heard of a movie-star coming back to the studio to fool with home movies on his day off?\n\nCloser inspection proved that this perspiring amateur was indeed Tyrone Power, obviously having the time of his life trying to get just the right lighting for his private job of title-making.\n\n\"Yes,\" he admitted, \"I fool around a bit with 16mm. and have a lot of fun doing it. But strictly in an amateur capacity.\"\nI've been around the studios long enough to learn the difference between a good amateur and a professional cinematographer like Pev Marley, Leon Shamroy and the other A.S.C. boys, and I know mighty well I'm only in the amateur class!\n\nRight now I'm spending most of my spare time trying to get the film I shot in South America whipped into shape. I've got it cut and put in enough titles so it comes somewhere near making sense \u2014 and I'm trying to get the rest of the titling job finished up as fast as I can.\n\nSimple Cloth Background\n\nAs you see, I'm using these cut-out wooden letters for my titles. They've little pins sticking out of their backs, so you can make them stay put on any sort of background you want.\n\nFor some of them, I'm using a simple cloth background. For others \u2014 those that tell where I went \u2014 I used a map of\nSouth America, place the letters on the map. I've been having fun lighting these three-dimensional letters. Take a spotlight, pulled down to a good tight beam, and get some swell shadow-effects with back-lighting and cross-lighting. And have you ever tried using colored gelatins over some of your lights? With these white wood letters, you can get some interesting color effects in Kodachrome that way.\n\nI almost always film in Kodachrome. Why not, when it makes the picture so much more interesting than black-and-white? And down there in South America, everything is so colorful it would be a shame to use anything but color for your movies.\n\nTravels Light. Yes, I'm lucky to have a chance to use this studio lighting equipment. Whenever I have the opportunity,\nI come to the gallery and the boys let me borrow their lamps. Sometimes, on weekends and the like, they let me take a couple home with me so I can experiment with titles, close-up lighting, and portraits.\n\nAnd speaking of lighting, I ran into something queer down in Chile. Most deceptive light conditions I ever heard of; the light just never behaves the way you expect it to. When the sun is out and shining brightly, your meter doesn't read half as high as you feel it should. Then when the sun slips behind a cloud and you pull the old meter out, you get another surprise, for it reads a lot higher than you think it has any right to.\n\nActually, there's precious little difference between the intensities of sunny and cloudy weather there. No - it wasn't up in the mountains, but down along the seacoast, where you'd expect to find the most consistent light.\nI made a lot of my South American trip by air, traveling lightly. My camera outfit consisted of my magazine Cine Kodak, a couple of thousand feet of Kodachrome in the tropical packing, my meter, and the Exakta I use for stills. I just learned something interesting about filtering with the Exakta. A few weeks ago, I took a little vacation in the snow at Sun Valley; of course, I took the cameras. Normally, I use a red filter for most of my black-and-white shots; I like the crispness and the dark skies you get that way. But working in the snow, I found you get better results with a much lighter yellow filter\u2014it lets you get into the shadows better and balance your exposures so the snow looks a lot more natural. I get a lot of fun trying out different filters.\nIdeas and discovering things for myself are what excite me. Of course, all the cinematographers I work with and their crews are more than happy to provide me with hints on this and that. And you'd be surprised how much you can learn about shooting Kodachrome by observing the way they shoot a Technicolor picture like \"Jesse James.\"\n\nMarley Was a Big Help\n\n\"But a studio cameraman has such a responsible job and is kept so busy at it that I hate to bother him with my amateur problems.\n\n\"Pev Marley, though, has helped a lot outside of regular working hours. You see, Pev is one of my closest friends - close enough that when I show him my films, I know his criticisms are meant constructively.\n\n\"And how he can find flaws in even my 'pet' scenes! When I turn out a shot he can't criticize critically, I feel as proud as though I'd won the Academy's Cinematography Award!\"\n\"How did I get started in 16mm? July, 1939 \u2022 American Cinematographer 305 I got a camera and shot as much footage as I could afford, with results that today seem horrible. Finally, I hit a spell when jobs and I weren't on speaking terms. It got to a point where I had to choose between selling the camera and eating \u2014 and kept the camera and didn't eat. But as soon as things began breaking for me, I got another camera. At this point I had to leave, to continue the business that brought me to the studio. But later I encountered Peverell Marley, A.S.C., who had more to say about Power's cinematography. \"Listen, Bill,\" he told me, \"don't let that chap fool you when he says he 'just\"\nThe best cameraman in the Screen Actors' Guild is a man who fools around with a camera. He may claim to work in an amateur way, and we have seen enough amateur films in the American Cinematographer's Contests to know how good a truly good amateur can be. However, Ty's photography is edging close to the professional class.\n\nHe knows lighting and exposure, and has a real eye for composition. In addition, he knows how to choose interesting subjects and turn them into a truly interesting picture.\n\nHe shot 2000 feet of Kodachrome on a South American trip and edited it down to a neat 1500-foot picture. This picture is photographically excellent and moves along nicely.\n\nGive him extra credit for turning out a job like that.\nTyrone Power's identity begins his travel film endeavors with a significant handicap. We or I could go and capture anything we desired, and no one would care. However, with Ty, it's different: once recognized, crowds gather. When you're the focal point for numerous enthusiastic fans, picture-making becomes challenging! Yet, when he could discreetly shoot, he excelled. His picture includes a sequence in a quaint Indian town in Chile, with an unpronounceable name, showcasing local color - native markets, religious processions on a feast day.\npriests and acolytes gathering outside the village church, swinging censers. A photographer captures them with an eye for first-class pictorial effect. He seizes such opportunities and knows the value of shooting plenty of close-ups to complete the story. He wouldn't disclose this, but an incident demonstrates his enthusiasm for filmmaking. Ty crossed the Andes by air. Airliners must fly at altitudes over 20,000 feet to get over those mountains. At such heights, passengers require oxygen supplements to breathe the thin air. Each passenger has an oxygen tank and 'breathes' through a rubber tube they are supposed to keep in their mouth while the plane is at that four-mile altitude. Without this aid, the air is too thin to breathe, and one can lose consciousness in a few minutes.\n[Flying over the Andes, the mountains are close even at that height. The peaks are spectacular for picture material. Shooting at 20,000 feet, Ty had arranged with the pilots to come forward into the 'office' - the pilot's cockpit in the nose of the ship - and get some pictures of the most interesting stretches. This meant leaving the security of his oxygen tank behind and taking chances in the thin, weak air. But he wanted those pictures, air or no air! At the appointed time, Ty moved forward to keep the Bureau of Mines, Department of the Interior's extensive motion picture film library dealing with mineral industries abreast of scientific and technologic attainments. Four petroleum films have just been revised by the Bureau.]\nThe revised films offer new information for visual education on the manufacture of gasoline, lubricants, and the oil industry's evolution. Each film has been revised with financial assistance from the original cooperating companies.\n\nBureau of Mines film No. 99, The Story of Gasoline, provides a tour of a modern refinery, showcasing the intricate equipment needed to convert oil into motor fuel through heat and pressure. Fine photography demonstrates gasoline's role in commerce and recreation.\n\nA similar treatment is given to another film.\nFilm No. 120, The Story of Lubricating\n\nAll of a sudden, he found himself beginning to get dizzy. Things began to blur as he squinted through the finder. But he kept on shooting. Finally, after he had bagged a shot that insisted on dancing around the finder like an impressionistic montage, and his knees began playing \u2018rubber-joint\u2019 tricks, Leon Errol couldn't beat, the pilots ordered him back to his seat \u2014 and his oxygen tank.\n\nHe didn't want to go \u2014 he still had plenty of film and the scenery was getting more impressive all the time \u2014 but the pilots insisted, strenuously. After all, they were in command of the ship.\n\nLater, after they had landed, the Chief Pilot told Ty that if he had delayed getting back to his oxygen a few seconds more, he'd have been out as cold as if he had been hit by a sledgehammer.\nHe stepped into Joe Louis' Sunday punch: \"A chap who voluntarily turns his back on the security of his supply of safe, breathable air and risks passing out in thin air, knowing what it's all about, is a real, dyed-in-the-wool cinematographer!\n\nNo. 151, Automobile Lubrication, is a one-reel film that should be used extensively in educational work by those concerned with modern methods of lubricating automobiles.\n\nFilm 153, Evolution of the Oil Industry (revised), was recently given its premiere showing at the World-Petroleum Exposition, Houston, Texas.\nThe former film of this number consisted of three reels, while the new film has been extended to four reels to display numerous new advancements in petroleum technology in all its branches. No essential allegorical or historical episodes have been eliminated during the film's revision.\n\nCopies of these films, which are all silent, are accessible in 16mm. and 35mm. sizes for exhibition by schools, churches, colleges, civic and business organizations, and others interested. Applications should be directed to the Bureau of Mines Experiment Station, 4800 Forbes Street, Pittsburgh, Pa. No charge is levied for the use of the films, although the exhibitor is anticipated to cover transportation costs.\n\nMines Bureau Revises Four Petroleum Films (American Cinematographer, 306)\n\"Now there are two of us!\"\nAGFA\u2019s famous 16 mm. Fine-Grain Plenachrome now has\nAgfa 16 mm. Panchromatic Reversible Film\nThe new Panchromatic Reversible film offers approximately the same speed outdoors as Plenachrome, and provides an equal fineness of grain. It has the brilliance which characterizes other Agfa 16 mm. Films.\nIntroduction of this new film gives you your choice between a panchromatic and an orthochromatic film for outdoor filming. Both Plenachrome and Panchromatic combine high speed, wide latitude, and an effective anti-halation coating.\nFor crisper, clearer outdoor movies this summer, lay in a supply now of Agfa 16 mm. Fine-Grain Plenachrome Reversible, and Agfa 16 mm. Panchromatic Reversible. Made by Agfa Ansco Corporation in Binghamton, New York, USA.\n\nAgfa\n16 mm. Reversible\nPlenachrome and Panchromatic Films\n\nBy Irving Millard, Night Superintendent (Test for Negative)\nCinema Laboratories, Inc.\nReprinted from Agfa Motion Picture Topics for May-June\n\nAlthough the laboratory processing of pictorial motion picture negative film has been standardized to some extent in recent years due to the imposed limitations of composite sound and picture printing, there is still a considerable difference of opinion as to the best methods to employ within those limitations to produce uniformity of contrast and density and at the same time to obtain in the developed negative the fullest measure of the artistic and dramatic effects created by the cinematographer.\n\nIn general, there are in use today two basically different methods of negative development, each of which has its advantages and advocates and, inevitably, its disadvantages and its opponents.\n\nThese methods are the \u201ctime and temperature\u201d method and the so-called \"two-bath\" method.\nThe article is not intended for partisan arguments about the time and temperature development systems. Instead, it aims to provide a summary of facts and an impartial discussion of their practical features as assets and weaknesses.\n\nUnder the time and temperature system, negative is developed daily at a set development time in constant, favorable solutions. Solution control is maintained using sensitometric and visual solution film tests processed at regular intervals. Uniformity of solution strength is achieved through chemical manipulation.\n\nSpecifications for the test system have been established based on experimental experience as the most desirable.\nThe proper development of normally exposed negatives adheres to strict standards. This method provides the cameraman with a theoretically consistent development factor for manipulating lighting and exposure. In contrast to the time and temperature development system, the test system utilizes test strips as a guide to adjust the developing time for the production negative. This alignment of negative exposure, density, and contrast with the positive printing scale's requirements is achieved by maintaining constant solution temperature and strength while altering the developing time. Solution maintenance is accomplished through methods similar to those used for this purpose.\nThe time and temperature system enables the cinematographer protection and flexibility when working under unusual or difficult conditions. Advocates of this system present the following practical arguments: first, the ability to reproduce an exact monochrome replica of the photographed scene without alteration or distortion. Second, elimination of the need for costly and potentially inaccurate or misleading tests. Third, a reduction in the number of tests required.\nThe variables interposed between the cameraman and the screen should be minimized. The maintenance of an unvarying standard of negative processing to which the cameraman can adjust himself is essential, enabling him to secure the desired contrast and mood in his screened picture.\n\nIn theory, the writer has always believed that the time and temperature method places the responsibility for negative uniformity, both in terms of contrast and density, in the hands of the cinematographer, where it rightfully belongs. Reducing the number of variables between his work and the screen is a step in the right direction, as he alone possesses the complete knowledge of the effects, mood, and visual tempo for which he is striving \u2013 a knowledge not readily available to the laboratory.\nIn practice, however, certain conditions tend to offset some of these theoretical advantages of the time and temperature system, as the adherents of the test method are at pains to point out. First among these is the virtual impossibility of maintaining a standard of absolutely consistent processing. While we are justifiably proud of the consistency of modern methods and machines, it must be admitted that this consistency is relative, rather than absolute. Sufficient errors, minor in themselves perhaps, but cumulatively of noticeable magnitude, can occur in methods based on consistent solution strength, temperature, and machine speed. It also has frequently been pointed out that this system of development lacks the flexibility which would enable the adaptation to various conditions.\nLaboratories help the cameraman by making compensation for the small day-to-day variations in his lighting and exposure through a laboratory system. However, this system lacks the flexibility to aid him by under or over developing negative photographed under unusual and abnormal conditions.\n\nTests: Pros and Cons\n\nLaboratories using the test system highlight the following advantages:\n\nFirst, the proper use of tests offers significant protection regarding the printing scale for cinematographers shooting under abnormal or subnormal conditions.\n\nSecond, it provides similar protection for cinematographers who habitually light in either a dangerously low or high key.\n\nThird, it allows for the absorption of the effects of the inevitable slight solution variations.\nDifferences which may exist from day to day. The same factor similarly aids in smoothing out the individual camera's day-to-day variations in lighting and exposure, previously referred to. These advantages are equally beneficial to the cinematographer working on a major studio's top-budget productions and to his fellow cameramen working under the restrictions of short schedules and budgets. If anything, they can be more valuable to the latter, as such conditions often necessitate long and fatiguing hours and occasional disregard of ideal photographic conditions. It is the function of any laboratory when faced with such conditions to offer all assistance possible, and it has repeatedly been proved that in such circumstances, forced development of underexposed negative, or retarded development of overexposures to a point permits acceptable results.\nAdequate printing densities, even with some loss of photographic quality, have been beneficial to the screen appearance of the picture as a whole. Time Required. On the other hand, it is important to note that the tests involve valuable time and effort if conducted properly, and even so, can be misleading under modern conditions. Consider, for instance, a light-effect shot in which a strong beam of light is to simulate sunshine coming through Venetian blinds that are to be closed during part of the scene, but opened later. A test made for the initial lighting, with the blinds closed, will give no indication of the exposure values when the blinds are open, and vice versa. It is unpleasantly easy to develop the scene incorrectly based on such a test. The same applies with equal force.\nAnd the modern moving-camera shots, which allow the camera to dolly through significant ranges of lightings and exposures within a single shot, require greater frequency. The test system, if carried out on a proper scale, demands intimate cooperation between the cameraman and the laboratory to function effectively. Such cooperation, under modern production conditions, is difficult, if not impossible, to obtain.\n\nOn the other hand, in most laboratories today, the need for frequent tests can be minimized. After the initial tests have been made, the laboratory can establish a normal average developing time for each cinematographer's negative. Thereafter, in normal production, tests need only be made as a safeguard or check, comparable to the laboratory's own visual and sensitometric processes.\nIn conclusion, cinematographers working under either method of negative processing can utilize certain practical aids. An outstanding weakness of the time and temperature system is that it subjects all negatives, regardless of lighting or exposure, to a fixed standard of development. The cinematographer operating under this system can protect himself to a degree by selecting a negative emulsion with the maximum exposure latitude characteristic. In this way, he can expect the film itself to aid in compensating for any unevenness of exposure levels.\nIn this connection, it must be pointed out that the intelligent use of a modern photoelectric exposure meter can be of tremendous aid to the cameraman in maintaining consistent exposure with the Peerless-Vaporate film treatment. This film treatment, which has been offered by the Bell and Howell film laboratory throughout the middle west for the last two years, is now also available from the Hollywood laboratory of the company. A complete vaporizing installation has been placed in the Bell and Howell Hollywood headquarters. The interest in this process is all the greater in view of the recent report issued by the Research Council of the Academy of Motion Picture Arts and Sciences on \"Release print film preservative tests.\" In the recommendations, the committee of experts stated:\n\n\"These tests indicate that because a film preservative contributes to the stability and longevity of the film, it is essential that it be used consistently and correctly.\"\nTo ensure better projection and longer life, all release prints should be given some treatment before use. Earlier in the report, the conditions for preservative treatment were described as follows:\n\nThe consistency of lighting and exposure values which will match the standardized negative developing procedure.\n\nIt is significant that the two organizations making the most extensive use of photoelectric light-measuring devices both use the time and temperature method of negative processing.\n\nCinematographers whose negative is processed in plants using the test system can anticipate that their negative, in the interest of maintaining consistent printing densities, may at times be over or under developed to some extent. They will obviously find it an advantage to select a negative emulsion which offers a wide latitude in development.\nSince consistency in exposures will obviously minimize not only the number of tests required but also the laboratory's manipulations of developing time, these cinematographers will find the proper use of photoelectric exposure meters beneficial. In this connection, however, it is well to echo the statement frequently made by other writers, that these meters must be used with intelligence or not at all. In general, it can be seen that as practiced today, both the time and temperature and the test system of development offer worthy advantages. If the cinematographer makes intelligent use of the aid offered by modern materials and methods, he can be sure of excellent results regardless of which system is used in the processing of his negative. And it may be reasonably concluded that the gap between these different systems is narrowing.\nAnd much-discussed methods for preventing issues in practice are slowly but surely lessening. Prevents scratches in new or green emulsion. Thoroughly lubricates the emulsion so that it will not adhere to any part of the projector. Impregnates the gelatine with a fixed chemical which will not be dissipated by the intense heat of the projection lamp, but which will take the place of the moisture that is withdrawn to prevent warping and buckling. Retains the film's pliability indefinitely. For the treatment of 35mm film, a special installation has been made by Bell and Howell with the Jackman Process Corporation of Burbank, California, which is developing new types of color film, the preservation of which is essential to continued enjoyment of the high initial quality of the release prints. Extensive new laboratory machinery of other types is also being developed.\nThis new organization by Bell and Howell. B & H extends to West Coast Preservative Method. July, 1939. American Cinematographer 309. Dye Transfer. Commercial Field. By Ira B. Hoke. The Eastman Kodak Company announces the coming-opening of its west coast plant for processing Kodachrome in larger cut sizes. Simultaneously, The Color Process Labatories, 837 North Fairfax avenue, Hollywood, headed by W. L. McLaine and Friend F. Baker, swings into full production on its process of color print enlargement from Kodachrome transparencies. A pioneer in the transfer of dye images, Baker made his first experiments with the process in 1923 in partnership with Roy Hunter. His research at that time consisted in the transfer of three and four color separation prints, but as that was in the pre-Kodachrome era, a different process was used.\nA one-shot camera with four plates was designed by Baker to produce negatives. Eastman Kodak Company collaborated with experimenters in 1924 by producing a special base film for color work in sizes suitable for use as matrix stock. Due to a lack of interest from commercial photographers in producing separation negatives, Baker set aside his plans until Kodachrome entered the amateur field. They then continued experiments and formed a partnership with William L. McLaine.\n\nThe Modern Process Selected\nOne of the best-known processes was chosen, and they developed and built specialized equipment for making dye transfers using Eastman Kodak Company's \"wash-off\" method. Later, Kodak's Kodachrome became available in larger professional cut film sizes as an answer to their prayers.\nFilms afforded the photographer a color film that could be exposed in a professional view camera, offering tremendous advantages of rising and falling front, horizontal and vertical swing back, double extension bed, and reversible back. The image produced was clear and well defined, perfectly adapted for transfer to paper.\n\nLarger sizes of Kodachrome, however, made it necessary for Color Process Laboratories to design, construct, and install much additional equipment. Every step in the processing of prints could be handled with the utmost precision and control.\n\nWith this new equipment, they now make prints in 8 x 10, 11 x 14, 14 x 17, and 16 x 20 inch sizes, which are nearly perfect reproductions of the originals.\n\nProcess no secret.\n\nBaker realized from his early experiments.\nThe partners designed their laboratory to maintain precise control over every phase of color transfer, ensuring successful dye image prints that could only be achieved under severe lab exactness, beyond the reach of the average commercial photographer. \"There is no secret to our color transfers,\" said Baker. \"We merely use the Eastman 'wash-off' process. The success of our enterprise lies in the rigorous adherence we maintain in our laboratory to the four essentials of perfect color prints: balance, temperature, humidity, and acidity.\"\n\nThe most exacting step of the process is exposing and developing the matrix forms, which are later used to create the final prints.\nTo hold the dye like microscopic sponges and release it upon the paper, which then becomes the finished print, accurate densitometer readings of the densities of the three color-separation negatives have proven the only means of determining the finely balanced exposure required for the matrix film.\n\nFrom the enlarger, this wash-off relief film goes through a developer and tanning-bleach process. In this process, the silver is converted to silver chloride, and the gelatin is hardened wherever there is metallic silver.\n\nThe gelatin, thus tanned, is insoluble in hot water, while the unaffected gelatin is washed off. The remaining silver chloride in the gelatin image adhering to the film base is then dissolved out, and the gelatin is prepared to receive the particular color of dye for which its silver image was filtered.\n\nThese steps are carried out under:\nrigid temperature control, exact within one degree, yet varying from 65 \u00b0F to 125\u00b0F, during the procedure. Three matrices, outlined above, are soaked in their appropriate dye solutions and then placed one at a time in contact with a gelatin-coated paper, previously mordanted so that the dye will leave the matrix and transfer to the gelatin of the paper. The three dyed images combined in the gelatin on the paper base form the color print. Additional prints are made by re-dyeing the matrices and repeating the transfer. While theoretically, dyes should be procurable that would give exact duplicate tones to paper from the Kodachrome transparency, they are not, at this stage of development, a reality.\n\nColor Balance\nThis lack of color balance must be compensated for by a complicated system of matting, made in perfect coordination.\nThe nation with the original transparency, and with regard to the acid reaction in the imbibition process, greens may be accentuated or depressed; reds may be darkened or lightened. Balance in color values between the components made by most one-shot cameras is far from ideal, as the laboratory operator cannot compare his results with the subject photographed. However, with Kodachrome, a balance system of making negatives can be maintained within very close limits, as the operator has at all times the transparency, or, to all practical purposes, the original scene in such form that it may be placed upon the work table for constant comparison.\n\n(Continued on Page 327)\n\n310 American Cinematographer \u2022 July, 1939\n\nWESTON\nUNIVERSAL EXPOSURE METER\n\u2605 New, free moving calculator dial with a wider range of / stop-shutter combinations, and film speeds.\nRatings up to 800, Weston.\n\u2605 Hermetically sealed photo-cell ... providing greater stability, sustained accuracy, longer life.\n\u2605 New extreme high sensitivity for all low brightness scenes.\n\u2605 New increased light span ... permitting accurate measurements from 1/10th candle per square foot, up to 1600 foot candles.\n\u2605 New, separate and automatic, \u201cHigh Light\u201d, \u201cLow Light\u201d scales provide greater scale length, greater legibility ... eliminate all confusing, congested light numbers at both ends.\n\u2605 Rugged, accurate Weston instrument movement ... large enough to be made precise, and to stay precise.\n\u2605 Built in U.S.A. to the highest scientific standards, by the world\u2019s leading instrument builder. Calibrated and checked in the world-famous Weston laboratories. See the \u201cmaster\u201d at your dealer\u2019s today, or, write immediately for literature. Weston Electrical Instrument.\nA.S.C. William Stull, 598 Frelinghuysen Ave., Newark, N.J., July 1939, American Cinematographer 311\n\nDoolittle Builds Rewind and Film Viewer\n\nA motorized rewind was not surprising in the big electrically driven ones used in theaters, which can rewind a 2000-foot reel of 35mm film in a few minutes. So it was not surprising to find that Doolittle's rewind was also motorized. But his was a home-built job made at a cost of about a dollar and a quarter.\n\nThe heart of Doolittle's gadget is a little reversible electric motor taken from a cheap electric fan \u2013 the type you can buy for a dollar in any cut-rate drug store. The fan blades and their guard are discarded, leaving only the motor and its supporting pedestal. By the way, this pedestal is just the right height to accommodate a 400-foot 16mm reel.\n\nA small pulley is fitted to the motor.\nA shaft replaces fan blades. Buy a stock pulley for a few cents, or if you're like Fred Doolittle, a gadgeteer who finds more fun in making things than buying them ready-made, turn one on your lathe from any handy bit of scrap metal you have. A simple metal bracket is next provided to hold a second, larger pulley and the rewind spindle. The drive can connect to the pulleys.\n\nWhen a successful cinema club votes to hold a meeting for a contest of uncut short films, the projection committee faces a first-class problem in keeping the show running smoothly. With fifteen 100-foot reels to be projected and rewound, there are likely fifteen exasperating intervals for rewinding the film and then rethreading the projector.\n\nUsing two projectors minimizes these delays, but often at the price of unwanted noise and disturbing light.\nThe June meeting of the Los Angeles Cinema Club (16mm.) was devoted to a contest involving projectors rewinding as one projects. The meeting ran smoothly with only one projector, indicating that someone had solved the rewinding problem. The answer was that Fred Doolittle had brought his rewind to the meeting. Even when contestants had mounted three or four 100-foot picturettes on one 400-foot reel, Doolittle would have the film completely rewound before the projectionist was ready to put on the take-up reel. The only commercially available rewinds that match this speed are Fred Doolittle\u2019s editing outfit, with motorized rewind, inspection glass, and stroboscope.\nClose view of Doolittle\u2019s stroboscopic viewer with magnifying lens in place. In 312 American Cinematographer, Doolittle explains that this reduction-drive with pulleys and belting can be eliminated and the rewind spindle fitted directly to the motor shaft instead. However, he found the reduction drive more satisfactory due to its increased power for handling a full 400-foot reel of film. The rewind spindle and the \"dummy\" spindle, upon which the full reel is held, were turned from a pair of \u00bd-inch bolts. One end was squared to fit the square opening on one side of the viewer.\nIf you want to be professional, fit a spring or spring-tensioned ball in the spindle to hold the reel to the shaft. However, if, like Fred, you're more interested in getting your gadget into operation, you can drill a hole through your spindle and slip in a cotterpin to keep the reel in place. If you already have a set of hand rewinds, use one of them to hold the full reel being rewound. Otherwise, make a \"dummy\" - a free-running shaft on a simple supporting bracket. Doolittle's \"dummy\" bracket is a bit of brasswork salvaged from the scrap heap, cut to the right size and drilled to receive the reel-spindle at one end and the screws which hold it to the baseboard at the lower end.\nInspection light: Beside the motor rewind on Doolittle\u2019s rewind board is a flat metal housing. It appears to be an additional splicer at first sight. In reality, it houses a convenient inspection light. Doolittle cut a suitable opening in the baseboard and mounted in it a small lamp-bulb, such as those used to illuminate radio dials. A curved sheet of tin beneath the bulb serves as a reflector and protection to the bulb. Another tin housing above holds an opal glass diffusing window. At the rear of the same housing are three switches. One turns the inspection light on and off, the second does the same for the rewind motor, while the third reverses the motor.\n\nStroboscope film viewer: A more recent addition to Doolittle\u2019s editing board is a unique stroboscopic film viewer.\nThe film viewer, which affords a magnified image of the film, apparently in motion, and works either forward or backward. This example of Doolittle\u2019s tinkering, too, was largely salvaged from assorted scrap-heaps. The design, however, does credit Doolittle\u2019s professional standing as an electrical engineer for the Southern California Edison Company.\n\nThe basic principle of the stroboscope viewer is relatively simple. The film travels over a sprocket, which incidentally is the one purchased unit in Doolittle's device. To the shaft of this sprocket is attached a commutator which turns on a neon light beneath the film for an extremely brief interval as each frame passes under the magnifying viewing lens.\n\nPersistence of vision blends the image received from this one quick flash into that received from the next frame, so the motion appears continuous.\nThe picture seems to be in motion due to the intermittent illuminating light, requiring no shutter or intermittent movement. The mechanical part of the viewer is correspondingly simple. A metal plate holds the one sprocket and necessary idling rollers, which keep the film in contact with the sprocket and maintain the section being viewed in the proper plane between the neon light and the magnifying lens.\n\nAvoids scratches due to the principle involved, as no aperture plate or gate is necessary. Since the rollers, as well as the sprocket, only touch the film along the perforations, there is nothing in the assembly to touch the picture area of the film and potentially cause scratches.\n\nHowever, the mechanical part of the viewer is simple, the electrical portion is more complex. The commutator, for\nIn motors, generators, and the like, a commutator consists of a shaft or drum bearing the required number of electrical contacts, insulated from each other by a suitable insulating material, such as hard rubber or bakelite. In the ordinary commutator, the contacts are broad, and the insulating strips very narrow. In the Doolittle viewer, the opposite applies to give the required ultra-short flash \u2013 so brief the film can hardly move during the interval the light is on \u2013 the contact must be very narrow, while the insulating section is correspondingly broad, as the light must stay out until the next frame has advanced.\n\nThe motorized rewind, made from a dollar electric fan.\n\nFred Doolittle\u2019s editing assembly (American Cinematographer 313). The brush which makes the contact is a simple bit of metal.\nA bronze spring-wire. Uses a rectifier tube. While a neon lamp will operate on alternating current, direct current is necessary for this use. Otherwise, the lamp, which goes completely out with each alternation of the current (60 cycles in most localities), might very easily be dark just at the time its glow should be illuminating the film. Therefore, Doolittle had to provide a source of direct current for his viewing lamp. This was done by coupling a rectifier tube to a condenser. The rectifier tube, Amprosound Model UB, is now in the hands of Ampro dealers. For extreme quietness in operation, Ampro's Sound-on-Film Model U has been inclosed in a sound-proof blimp case. Prices are to consumers: Ampro Model UB, $365; Ampro Model U, $345 (without blimp case). With an amplifier output of 15 watts, undistorted, a 12-inch permanent magnet field speaker and 750 watt lamp are used.\nThe UB is enclosed in a sound-proof blimp case. It supplies direct current to charge the condenser. The condenser, in turn, builds up a charge during the between-frame intervals when the circuit is open, and when the circuit closes, it gives the lamp a brighter flash than otherwise possible.\n\nThe complete circuit begins with a suitable transformer, salvaged from an old radio, which brings the regular 110-volt current up to the higher voltage necessary for operating the rectifier tube. Next comes the rectifier tube. The condenser, or in Doolittle\u2019s case, a salvaged two microfarad telephone condenser, serves the same purpose.\n\nEmbodied in the U and UB are several innovations, such as a speaker-hiss eliminator which allows the operator to obtain full volume without hiss, even at low voltage; and an amplifier signal light indicates when the amplifier is on and functioning properly.\nThe amplifier's volume and tone control knobs are marked. An active response to the soundproof Ampro Model UB is being received from dealers. For complete specifications and features, contact The Ampro Corporation, 2839 North Western Avenue, Chicago.\n\nThis is connected to the glow-lamp through the commutator. The magnifying viewing lens came from a dimestore magnifying glass. It is mounted in a boxlike wooden housing that fits over the viewer when necessary and extends downward to exclude room light.\n\nThe neon glow-lamp Doolittle used has two long, semi-cylindrical electrodes nearly as long as the width of the 16mm film they illuminate. The base of this lamp originally contained a resistance, which was unnecessary in this case as suitable resistance was provided elsewhere.\nDoolittle performed an operation on the transformer's tube base. He opened it up, shorted out the resistance, and afterwards reclosed the base with plaster-of-paris. This enabled the condenser to discharge more rapidly, giving a quicker light flash and minimizing the effect of the film's movement.\n\nThe viewer was made from discarded radio parts and spare metal bits, such as every home machinist has in abundance around his workshop. With new parts, Doolittle says, such a viewer could be assembled for a cost only slightly over five dollars. The only unsatisfactory aspect was the characteristically red-orange glow of the neon lamp.\nFor viewing color-films, the device works as well as any commercially made viewer, with less complication and risk of damaging the film. Gadgeteer Doolittle notes that the fun of planning and making such a device exceeds the satisfaction of using it once it is made.\n\nThree important motion picture producers in the British Isles, including a Government department and the Postmaster General, have been signed as sound film recording licensees by RCA Photophone Ltd., in London. The new contracts bring the number of Photophone licensees operating in Great Britain to fourteen.\n\nA postcard request will bring readers a forty-page catalog of still and movie cameras, photographic equipment.\nand  accessories  which  has  just  been \nbrought  out  by  Lafayette  Camera  Cor\u00ac \nporation,  100  Sixth  avenue,  New  York. \nAmpi-osound  Model  UB,  now  in  hands  of \ndealers,  attracting  attention  because  of \nits  performance  and  ease  and  quietness \nof  operation. \n314  American  Cinematographer  \u2022  July,  1939 \nMarshall \nand.  Clarke \nGet  Air \nThrill \nWreck  in  Alaska  of  Jimmy  Mattem\u2019s  plane  from  which  Charles \nMarshall  survived \u2014 for  one  reason  because  he  had  the  prevision \nto  pull  a  couple  of  cushions  over  his  head  when  he  saw  the  crack- \nup  coming. \nCHARLES  A.  MARSHALL,  A.S.C., \nhad  a  bad  quarter  of  an  hour  on \nthe  morning  of  June  2.  He  had \nmore  than  that \u2014 at  least  five  minutes \nmore.  And  it  was  a  twenty  minutes \nwhen  seconds  are  divided  into  fractions, \na  matter  of  detail  with  which  photogra\u00ac \nphers  are  exceedingly  well  acquainted. \nIn  this  instance,  however,  it  was  not  a \nIt was a matter of making an exposure. It was a battle for life\u2014for two lives\u2014that of Pilot Frank Clarke, who made a desperate fight to return to the ground with a low-flying and crippled Stearman camera ship, and Marshall's. The plane had flown from Union Airport to a temporary field near Point Mugu, forty miles north of Los Angeles, without any intimation that everything was not right. In taking off, the ship had not attained an elevation of more than fifty feet when Clarke pulled back on the control stick and found it loose in his hands. The stick is designed to fit into a socket that projects four inches above the floor of the cockpit and to be bolted into it. The bolt was missing. The absence of elevation constituted the greater peril. Clarke dropped to the floor of the cockpit and grabbed the control cables.\nClarke kept the ship level despite the weight of the camera in the rear cockpit, making it slightly tail-heavy. The craft began to bob. After gaining some altitude by making slow circles, Clarke throttled down the motor's speed.\n\nMarshall noticed something was wrong and was puzzled by Clarke being on the floor. He banged on the windshield for information. Unable to get up, Clarke raised the control stick with one hand and held the control cables with the other, yelling for Marshall to unscrew the handle of the camera friction head. This seemed the only thing handy for an emergency control stick.\n\n\"Marshall, not in the least excited or frightened,\" Clarke recalled later, \"unscrewed the handle and passed it to me over the windshield with a screwdriver and a pair of pliers.\"\nI managed to slip the camera handle down into the control stick slot and, by losing altitude very slowly, got near the field at about the right height for landing. I then cut the motor and glided down. It's the closest shave I've had in twenty-one years of flying.\n\nMarshall estimates that at no time for twenty minutes did the ship reach an elevation in excess of 200 feet. Quick repairs were effected, and in less than an hour, the two men were in the air again, where they secured for Columbia\u2019s \u201cCoast Guard\u201d the shots that had been planned.\n\nThe cinematographer is strong in his praise for Frank Clarke's flying ability. \"I put him second to no one with whom I have been in contact,\" he said. Marshall has had a lot of air experience himself. During the war as a member of the Signal Corps and Air Corps, it fell to him to accumulate two\nThousands of hours of flying. Following the war for several years, he was employed in a laboratory. For the past ten years, he has specialized in motion picture air work.\n\nMarshall's last previous experience with adventure was lacking but twenty days a year \u2013 in M-G-M\u2019s \u201cToo Hot to Handle.\u201d It was on June 22, 1938, when his ship, heavily loaded (carrying four cameras with accompanying batteries), failed to come to a stop. Frank Clarke, pilot, and Charles A. Marshall, A.S.C., narrowly escaped when the control stick came loose in the former's hand, just fifty feet off the ground.\n\nNew film emulsions are indispensable to motion picture progress, but only proven reliability and uniformity make them practicable. Eastman Plus-X, Super-XX, and Background-X have those priceless qualities.\nEastman qualities \u2014 hence the everyday use they enjoy throughout the industry. Eastman Kodak Company, Rochester, N.Y. (J.E. Brulatour, Inc., Distributors, Fort Lee, Chicago, Hollywood.)\n\nEASTMAN\nPLUS-X \u2014 for general studio use\nSUPER-XX \u2014 for all difficult shots\nBACKGROUND-X \u2014 for backgrounds and general exterior work\n\nWithin the accustomed distance, a camera slid into a drainage ditch at the Long Beach airport. It was still traveling at a fifty-mile clip when it turned on its back and stopped with complete suddenness. Two of the quartet of cameras were on the landing gear, and two in the rear cockpit. The flying cameraman was a bit skinned up and bruised, but not seriously injured.\n\nAlaskan Crash\n\nHis escape from injury was even more notable a year before that. He was flying north with Jimmy Mattern in 1937.\nin a Ford tri-motored twelve-passenger ship searched for the Russian arctic flyers. The heavily loaded ship had flown from Glendale, Calif., with Fairbanks, Alaska, as its destination. Ten miles south of that city, the ship was forced down by a heavy storm with zero visibility. Marshall, with uncanny foresight, had secured two cushions in Glendale. At the time of the descent, he was sitting on them. As he saw the nature of the ground on which the plane was about to land, he reached under him and withdrew the two cushions, placing them over his head and shoulders without delay. As the ship, traveling at sixty miles per hour, came into contact with the tundra or swamp land, it plowed deeply into the soft ground and turned onto its back.\nAn accompanying picture shows the damage that resulted. Marshall's chair was torn away from the heavy bolts that fastened it to the floor. One of the cushions over his head and shoulders was cut in two. A fifty-gallon oil reservoir near him spilled its contents over him. But most fortunately, a big gas tank just to the rear of where he had been seated in the cockpit was empty. Had it been filled as when it left Glendale, its impact would have destroyed him beyond any doubt. As it is, the effects of the bump he got on his head remain with him yet. In spite of the treatment he underwent for a long period after the crash, he experiences an occasional kink in his neck.\n\nTwo views of the same plane after it had come to a stop in a ditch in the summer of 1938. Marshall was a passenger with four cameras, one pair on the landing gear.\nThe pilot, copilot, and Marshall were sighted by Joe Crosson, a famed Alaskan pilot, forty-five minutes after the crash. He immediately set out to find the ship despite the storm and quickly spotted the crash. Flying low, he signaled and shouted for them to walk to the Tanana River, three miles away. Fairbanks, the only inhabited spot nearby, was reached in a few minutes. Marshall was in the same plane as the one that had given him and his companion the thrill of their lives. The three men were comfortably housed upon arrival.\nThe making of motion pictures from the air provides a thrill to the photographer as well as to the screen spectator. Philadelphia Cinema Club\n\nA riot of color would make a good lead for the story of the June Meeting of the Philadelphia Cinema Club, held at the Hotel Adelphia on June 13. Our own Francis Hirst initiated the event with his talk on \"Color Aesthetics.\" He illustrated this with small colored plaques indicating the various colors of the spectrum, as well as with a rotating disk showing the primary colors. He followed this excellent talk with three 8mm. films in color, taken by himself with the help and cooperation of Mrs. Hirst.\n\nThese films, \"Golden Trail,\" \"Nova Scotia,\" and \"Peggy's Cove,\" were enjoyed by everyone. In \"Golden Trails,\" Mr. Hirst once again demonstrated his skillful handiwork in utilizing color design for title work.\nArthur Hurst displayed a \"Pictorial\" with 800 feet of nature, featuring flowers, trees, birds, and landscapes, showcasing their changing appearances in the sea's garments. His renowned single frame shot of a watercolor painting being made was also included. In accordance with the ideas proposed in earlier meetings, Carl Finger presented his 16mm. Kodachrome \"Birthday Party,\" demonstrating the potential after constructive criticism and film editing of this type.\n\nThe New York World's Fair films have begun to arrive, with Dr. Bowersox leading the way, who exhibited his 8mm. footage accompanied by R. H. Hoot's commentary. A 16mm. color film of the fair, partially captured by Hoot and Benjamin Kline, showcased the numerous unique angles at which scenes could be photographed, whether day or night.\nSeven new members were inducted, and when we reassemble for our opening meeting in the Fall, we will do so with a full membership list. B.N. Levene, Chairman Publications Committee. July, 1939, American Cinematographer 317\n\nModern puts 16MM. to 8MM. printer\nModern Movies, Inc., 6018 Fountain av., Hollywood, has just completed and installed the optical 16mm. printer shown herewith. For the 8mm. side of the printer, an Eastman Model A 16mm. camera was converted to 8mm. by replacement of the pulldown cam and changing the takeup gearing. An 8mm. aperture was made to replace the former 16mm. aperture.\n\nThe Eastman model was selected because of its serviceability, steadiness, and aptitude for the job. The lens employed is an Eastman f3.5 25mm. and is\n\n(Note: The text appears to be complete and readable, with no significant OCR errors. Therefore, no cleaning is necessary.)\nmounted on an adjustable plate to allow 3/16 inch movement, either vertical or horizontal. This provides for perfect alignment and reframing. The control unit, which may be changed to other printers, assures standard results.\n\nPower is furnished by a 1/25 hp motor, which is rubber mounted to eliminate vibration. The printer's speed is 8 frames a second. Four hundred foot magazines have yet to be installed.\n\nLos Angeles Cinema Club\n\nThe June meeting of the Los Angeles Cinema Club was a dinner meeting, at which a 100-foot reel uncut film test was held. About 55 members and guests attended.\n\nA new club function was announced. Each month, a stag technical meeting will be held the third Tuesday night at the home of some member. Interesting gadgets and films will be brought and shown to the group.\n\nA different method of judging contests.\nThe tests were tried and found very satisfactory. Guest George Blaisdell and three members were appointed as judges to select the three best films of the 15 entered in the uncut reel contest. These three films were then rerun before the audience and the members voted by ballot for their choice of the best film. The one receiving the most votes, a Kodachrome reel entered by Guy Nelli, won the coveted first prize, a splendid book on photography donated by Winter\u2019s Camera Shoppe. Awarding of second highest number of votes carried the second prize to Mr. Levi, and similarly third prize was won by Earle Memory. Members were unanimous in considering the 100-foot reel uncut film contest a splendid type. The various reels shown gave a good cross section of the efforts of the members, and the excellence of the general photography.\nThe photography of those entering films made the task of the judges most difficult.\n\nSecretary: J. Pyle, Jr.\n\nLafayette Filters\n\nThe Lafayette Camera Corporation, 100 Sixth Avenue, New York, has announced a new filter mount and a wide variety of optical glass filters to fit all lenses from 23 to 42 mm in diameter. The mounts are available in 12 sizes and consist of a barrel and a clamping ring which screws over its outer end to hold the filter glass securely in position. The inner end of the barrel slips over the lens mount and has spring fingers to ensure a good grip.\n\nKodak Puts On Market Its Supermatic Shutter\n\nKodak has installed a 16mm. to 8mm. optical printer using an Eastman 16mm. Model A projector. The projector movement is:\nThe camera is mounted on a 20-pound castiron block to allow for %-inch movement forward or backward. The aperture is specially made and framable. Both movements are mounted on the block to ensure rigidity. The camera is mounted on half-inch steel legs, longitudinally threaded, and the projector is flush-fitted to the base with four slotted holes. A direct driveshaft connects the flywheel of the 16mm. to the 8mm. sides. The lamphouse is standard, and condensing lenses are specially fitted. The lamp is 6 volts, 25 candlepower. A special transformer and rheostat supply and regulate the power. Transformer and rheostat are built into a separate remote unit.\n\nAnnouncement comes from Rochester: the new Kodak Supersynchronous Shutter No. 1, an important newcomer in the field of fine precision built shutters.\n\nMade in Kodak's precision workshops.\nin Rochester, this new shutter is an unequaled between-the-lens shutter in mechanical design and performance, accuracy, sturdiness, efficiency, and calibration.\n\nSpecial lubricants developed by Kodak research enable the Kodak Supermatic Shutter to operate satisfactorily and consistently over a greater summer and winter temperature range than any other between the lens shutter.\n\nThe Kodak Supermatic Shutter has a speed range of 1 to 1/400 second, and includes a delayed action or self-timing setting at all shutter speeds including 1/400, with a pause of about 12 to 15 seconds\u2019 duration.\n\nShutter speeds which require the use of a second \u2013 are marked in red to warn the user of the necessity for a rigid support. The faster exposure speeds \u2013 1/25, marked in black.\n\nSpeed setting is accomplished by turning a ring around the periphery of the shutter.\nThe shutter bears two index points, one for instantaneous speeds and one for longer exposure speeds. The shutter setting lever is situated on the top of the shutter, and the release lever is located on the left side. A third lever, on the right, which cannot be set until the shutter has been cocked, serves to set the delayed-action mechanism. A socket for a cable release is provided. The delayed-action device, if set, is put into motion when the release lever is released in the usual way. Extremely thin spring blades, held to fine assembly tolerance, close tightly over the aperture to obviate light leakage. Their lightness makes possible a high speed of 1/400 second. Other speeds down to one second are timed with a retard, consisting of a precision gear train and pallet escapement. The whole shutter mechanism is built.\nAnd assembled with the accuracy of the finest watch. The new swirl finish is another feature of the shutter. This new shutter is at present available only on the Kodak Special Six-20. Other Kodaks will be fitted with this shutter at a later date.\n\nBuilding Movies Around Music by Ormal L. Sprungman\n\nAll flash photos and 16mm frame enlargements by the writer.\n\nThis lip action shot was clicked during the actual filming of the Mill Stream sequence. From left to right: Edward Johnson, who conceived the idea; Dr. Leonard Martin, chief sound man at the club's recent Movie Party; and Monty Paynter, non-member. Ray Eppel, extreme right, soloed on piano.\n\nI believe it was Robert Bruce, Hollywood's photographic artist, who first advised amateurs never to photograph without a reason. \"The better the reason,\" he pointed out, \"the better the photograph.\"\nThe picture's timely words fall on the deaf ears of cameramen, whose cinematic life is one continual round of garbled shooting. They neither find the time nor the inclination to unravel the complexities of continuity and its complications.\n\nHowever, there is a form of purposeful filming which is neither brain-tiring nor soul-consuming. Unique in itself, this new practice of building movies around music offers heretofore undreamed-of possibilities for every type of cameraman, beginner or well-advanced.\n\nMovie stories are as varied as the recordings themselves, and filming can be as technically perfect or as downright simple as the moviemaker desires.\n\nBriefly, a likable recording is selected, its playing time noted in seconds. Then, the moviemaker sets out to shoot movies to fit the mood and tempo of the tune itself. Final editing brings the footage together.\nAge the recording down to the exact playing time and the result is a sound-synchronized movie. This is the opposite of the usual procedure of filming a movie first and then finding suitable music and sound effects to fit the scenes.\n\nLet's get down to actual cases. Quite some time ago, the late Joyce wrote a poem called \"Trees.\" It was a pretty, beautiful thing. A perusal of the current Victor Record catalog reveals at least six variations in recordings.\n\nYou can buy the tree disk featuring the voice of Ernestine Schumann-Heink or Nelson Eddy or John Charles Thomas. Or you may have the piece played by Shilkret's Victor Orchestra or Bunny Berigan's swung music. You can even buy an all-organ recording of \"Trees\" by Don George. Everything depends on individual tastes.\nSince organ melodies seem always suitable for accompanying color stuff, suppose you pick the organ number for your next Kodachrome feature. Your first step is to load your camera with color film, choose a day when the sky is deep blue and fluffy with clouds, and do your tree filming. Take long shots through drooping branches and frame vertical views through tree tops against a fast-moving cloud. To accentuate such movement, shoot at 8 frames per second instead of the usual 16, closing down the lens aperture one stop to compensate.\n\nThe Opera House stage of the \"Covered Wagon\" in Minneapolis furnished a rustic background for filming the movie recording, \"Down by the Old Mill Stream,\" recent production of the local cinema club. Silhouetted in foreground with camera is Arthur Schwartz, one of the organizers of the club.\n\nJuly, 1939 \u2022 American Cinematographer 319.\nThe slower speed. Watch for human interest sidelights, such as a squirrel scampering up a trunk, a bird feeding its nested young, or an odd-looking insect slumbering amid tooth-chawed leaves. Here's Real Job. Since the music is of the leisurely, lump-in-throat sort, scene length should compare closely with the tempo. Faster music might demand much shorter scenes, but for the tree tune, shoot a bit longer than usual, dissolving between scenes if your outfit will permit trick effects. Back home on your editing table, a real job confronts you. Your problem is to boil down your footage to exact record length, perhaps changing the continuity here and there to fit the mood. By actual stop-watch test, you find that the organ number has a playing time of three minutes. Bunny Berigan's swing version runs 3 minutes and 15 seconds. One hundred feet of 16mm film.\nThe projector runs through the film at 16 frames per second, covering the picture story in approximately four minutes. By converting running time to footage, you find that about 75 feet of film are required. Proper synchronization is achieved by measuring the film foot by foot and maintaining a consistent projector speed.\n\nTrees are not the only nature subjects suitable for musical treatment. The Chicago Symphony Orchestra has recorded \"To a Wild Rose\" and \"To a Water Lily\" on a Victor Red Seal disc. The wild rose opus lasts 2 minutes 10 seconds, while the water lily piece has a playing time of 2 minutes 40 seconds.\n\nThe music is tearfully soft and beautiful. All one needs to do is visit the city's rose garden or backyard lily pond to capture the necessary color close-ups. Other appropriate disks include:\nShooting a Difficult One\n\nSuppose you have worked with straight musical background for some time, and now you want to try something more challenging. Choose a record with a vocal refrain, and shoot and edit in an attempt to synchronize lip movement.\n\nThis is done by photographing all background scenes first and then setting up to shoot an actor, appropriately garbed, \"mouthing\" the recording being played simultaneously while filming. After a little practice, it is remarkable how accurately lip synchronization can be obtained.\n\nOf course, it isn't always essential to shoot film especially for the recording at hand. Sometimes surplus footage from reels previously filmed can be re-edited to fit the music.\n\nFor instance, take the Victor recording of the old-time favorite, \u201cMemphis Blues.\u201d\nThe record \"Stories,\" by The Southerners, is 3 minutes and 10 seconds long. Upon further analysis, the record consists of an instrumental introduction (1 minute 30 seconds), a vocal chorus (47 seconds), and an instrumental close (53 seconds).\n\nLeft: John Leffler, an 8mm movie fan and Minneapolis Cine Club member, is shown with his homemade method of synchronizing recordings with films. The projector motor drives the turntable via a flexible shaft. The same cable also connects to the camera when filming synchro-movies.\n\nRight: Program Chairman Harold Bronston films a close-up of Club Treasurer Paul Frantzich strumming the guitar for the Mill Stream feature. Program Committee member Carroll Davidson thumps drums in the background. Actors \"faked\" lip and finger movements for the camera while the actual recording was being played.\n\nUnearth your old cinematic memories \u2014 picknick scenes with pickles and ants of days gone by.\nWorm angling beside a trotting brook, camping scenes in the great north woods. Pick only the highlights and best exposed shots. Look for a continuity thread on which you can hang these scenes. For instance, you might fade in on an over-shoulder shot of someone thumbing a snapshot album, swinging in for a close-up of a familiar scene, fading out and in on the actual movie scene, and then returning later to the album. You can work this stunt at least twice before the vocal comes in.\n\nWatch Step\n\nFor the vocal, please pay close attention. Make sure that the camera motor spring is fully wound, and that the turntable used on location spins at 78 rpm. Any variation in either motor will throw the whole piece off.\n\nAfter the vocal has been rehearsed several times, set up the camera, check distance and exposure carefully, and record.\nFilm the sequence with the characters going through the mouth movements as the recording is played. This vocal sequence is then cut into the regular footage, the final reel brushed up a bit, and there is your homemade talkie. If you want to vary your camera angles and distances on any one vocal, first shoot the whole sequence through for timing, and then repeat from different angles. You can cut out any number of frames from the original sequence and still retain synchronization provided that the angle shots cut into the first film contain an identical number of frames.\n\nIt was early one morning over his breakfast coffee that Edward Johnson of the Minneapolis Cine Club got an idea for a synchro-talkie feature that proved to be one of the sensations of the Club\u2019s Second Annual Movie Party screening, reviewed in the June issue.\nInvading many local record shops, Johnson managed to uncover an inexpensive Decca recording, \"Down by the Old Mill Stream,\" featuring the Three Peppers \u2014 piano, guitar, and drums \u2014 and a vocal trio. Since each musical instrument was featured in solo, the piece offered opportunities for close-up camera work.\n\nThe record was played and replayed until the entire number was perfectly timed. In short, the piece ran a little under 2 minutes and 20 seconds, and was broken up as follows:\n\nSeconds\nPiano introduction: 8\nVocal trio: 31\nGuitar solo: 31\nPiano solo: 35\nVocal trio: 42\nTotal seconds: 147\n\nSecond step was to line up a camera, a string of lights, a suitable location,\nA batch of actors, three for the vocal and three for the band were required. Previous singing experience was unnecessary, though musical ability in handling instruments was found advantageous. The drummer hadn't ever thumped a yawning hide until a minute before the actual shooting!\n\nThe log-cabin \"Covered Wagon,\" a unique downtown Minneapolis night spot, was chosen for the picture setting because its midget stage and rustic appearance lent itself well to color filming.\n\nWith lights and camera in readiness, the recording was started. A long shot of the curtained stage was taken during the piano interlude, near the close of which the curtain rolls up and the vocal trio and band swing into action with ample gesturing.\n\nOn the second chorus, the camera was moved up for a medium shot, and the guitar and piano closeups were shown.\nTurn. To add a humorous touch during the piano key thumping, one of the vocalists removed a handkerchief from his pocket and mopped the brow of the perspiring, finger-strumming pianist. Enters Real Wag. Considerable cutting was necessary, adding a short sequence here and lopping off some parts. Main title of synchro-movie which proved sensation of Minneapolis Cine Club\u2019s Second Annual Movie Party. Enlarged from 16mm. frame. Title by Park Cine Laboratory.\n\nV\n\"DOWN OLD MILL STREAM\"\nBY THE\nTime Favorite\nin Swing\nFrom\nany resemblance of characters pictured to others,\n\nThe Orchestra:\nGuitar . . . Paul Frantzich\nDrums . . . Carrouselidaon\nVocal trio:\nEdward Johnson\nDr. Leonard Martin\nMonty Paynter\n\nPhotography . Arthur Schwartz\nDirection . H.ld Bronson\nRalph aprungman\nEditing . Ormal Sprungman\nLighting . General Electric\n\nThe Orchestra:\nGuitar . Paul Frantzich\nDrums . Carrouselidaon\nVocal trio:\nEdward Johnson\nLeonard Martin\nMonty Paynter\nLiving or dead, this is unfortunate and coincidental.\n\nThis close-up action of a strumming guitar was enlarged from a 16mm color frame from \"Down by the Old Mill Stream.\" A few frames were removed before the film was ready for its premiere projection. A scroll title was used to introduce the featurette, including credit lines to band members, vocalists, and others, winding up with this: Any resemblance of characters herein pictured to others, living or dead, is unfortunate and coincidental.\n\nAll of the previously mentioned synchro-talkies were made and projected without any connection whatsoever between turntable, camera, or projector. Synchronization was maintained simply by altering the projector speed during screening.\n\nIt remained, however, for one John Leffler, 8mm enthusiast and member of the Minneapolis Cine Club, to rig up a synchronization system.\nsynchro-system having all the advantages of sound-on-film. Leffler, who also has done considerable experimenting by recording a needle-scratched sound track on acetate film, spent an idle dollar one day for a turntable salvaged from a $450 Sonora phonograph he discovered in a second-hand store. Rebuilding the turntable into a portable carrying case, he connected one end of a 30-inch auto radio cable (the flexible shaft type used for tuning) to the turntable motor, with the other end affixed to the take-up pulley of his Eastman Model 50 8mm projector. The turntable itself was driven by the projector motor.\n\nKeep spring tight.\n\nWhen building movies around voice recordings, Leffler uses the same cable, attaching the projector end to the camera, which is housed in a specially constructed container. The camera motor spring is kept at full tension.\nDuring actual filming by repeated windings, and the entire record is filmed in July, 1939. Movie Makers. If a scene is worth filming at all, it merits the best film you can get. That is exactly why Cine-Kodak Film is the accepted standard among film-wise movie makers. It is always worthy of the job it is asked to do, always fully responsive to the skill of the camera user.\n\nTo meet the requirements of varying movie-making opportunities, Cine-Kodak Film is made in several emulsions, each with its specific field of usefulness. Know these films, understand what they can do for you \u2014 and real achievement in home movies is within your grasp.\n\nUpper left: 16 mm. Super-X adds brilliance and fine grain to ample speed.\nLeft: 16 mm. Super-XX, for use when the most sensitive film is essential to success.\n16mm. Kodachrome affords the finest color movies. Right: 8 mm. filmmakers rely on standard \"Pan\" for general filming, indoors and out, and on Kodachrome for movies in full color. Going to the New York World's Fair? Be sure to take your Cine-Kodak. Stop at the Kodak Building, where Eastman experts will advise you what to take and how to take it. And there you'll see the unique and gorgeous Cavalcade of Color \u2014 the Greatest Photographic Show on Earth. Nothing like it has ever been seen before. Eastman Kodak Company, Rochester, NY\n\nMethodical preparations pay dividends. By James A. Sherlock, Sydney, Australia\n\nSecond Article\n\nCopy of report presented to customers by Herschells Photography Limited, Agfa 16mm. Processing Service of Melbourne, Australia:\n\nMethodical preparations pay dividends. (Report on Kodak films and services at the New York World's Fair)\nYour film is under-exposed. Your film is over-exposed. Scenes are too short. Scenes show too much movement. Your film shows scratches. Your film is not sharp. Scenes show halation.\n\nEFFECT\nDark image on screen.\nLight image on screen.\nA flash and picture is over.\nUnsteady and blurred pictures.\nVertical lines on screen.\nPicture blurred.\nFlare from light portions of subject.\n\nREMEDY\nOpen up lens to give more exposure.\nClose lens to give less exposure.\nShots should not take less than 5 seconds.\nAverage 10 seconds.\nHold camera steady.\nMove camera very slowly when panning.\nClean the gate and guide rollers.\nFocus lens carefully according to scale.\nExposing against light is unwise, but, if you must, use lens shade.\n\nWith the camera loaded, the first step is choosing a subject to shoot. Most movie makers purchase a camera for either of two reasons: either they want to record events as they happen, or they wish to create a work of art.\nBeginners often use cameras to make permanent records of holidays or to photograph their families. A large number of people buy a camera the day before they leave on a holiday, shoot reel after reel of film, and trust to luck that their pictures will be good. Thanks to the simplicity of most movie cameras, this is sometimes possible, but mostly the pictures contain many errors that could be avoided.\n\nThe most common fault of beginners is misjudging the correct exposure to use. Every exposure meter varies slightly, camera speeds vary, and cheap lenses do not always pass the rated amount of light.\n\nThe amateur would be well advised to use the first spool of film making test shots. Erect the camera on a tripod, use your exposure meter and set the lens to the aperture indicated, expose 5 feet of film on your subject, then open the lens half a stop and expose another.\nFive feet of film should be exposed at a time. Repeat this process, then return to the exposure indicated by your meter and expose another five feet. Repeat this process, exposing an additional half stop and another five feet of film. This test should be completed by exposing a total of five feet for each exposure to properly appreciate the varying exposures when projected. Between each shot, hold your hand in front of the lens and expose a few frames. These frames will be black when the film is developed and will serve to identify each alteration in exposure. This may seem a waste of time and film.\n\nJuly, 1939. American Cinematographer 323.\n\nFigure 1. This is not a close-up. A close-up may be taken from a distance of no less than five feet. Figure 2. A mile away.\n\nNo less than five feet for each exposure is necessary.\nA beginner, but he and quite a few seasoned amateur filmers would be well paid to make this simple test. Attached is a standard fault chart used by the Agfa processing station in Melbourne, designed to help amateurs recognize their mistakes. I recommend studying this.\n\nExcept for the old trouble of not knowing how near to make a close-up, all early faults are mentioned. Whatever portion of your subject you wish to make a close-up of, have it almost fill the viewfinder, and you have your close-up.\n\nIt is a good plan to have a system of preparing the camera before shooting each scene. For the first few shots, do everything methodically and slowly, and it is possible you will develop a good habit that will remain throughout your filming days.\n\n1. Choose the best angle.\n2. Check the spring to see if it is fully wound.\n3. Focus the lens to the correct distance.\nIf a turret camera is used, set every lens.\n1. Measure the light with an exposure meter.\n2. Set the lens aperture.\n3. If a multiple speed camera is used, check speed indicator.\n4. Expose the film.\n\nA serious filmer should use a tripod wherever possible. It is the most important of all accessories, particularly when telephoto lenses are being used. They magnify the scene and any movement of the camera is emphasized. If the cameraman is using a camera speed of 8 frames per second or he is waiting for some clouds to arrive, he would be well-advised to use a firm tripod. One that has a smooth moving head in both horizontal and vertical directions is best.\n\nFigure h: Fill the viewfinder with a subject, whether it's a face, but they must have texture and detail.\n\n324 American Cinematographer\nMonterey, Calif.\n\nThe Peninsula Cine Club of Monterey,\nCalif. At its regular meeting on June 21, the club held the first showing of its documentary film on the First Christian Church of Pacific Grove. The main purpose of the exhibition was to secure final criticism and editing by the club as a whole of this two-reel 16mm. black and white film. The making of the film was designed by the club to commemorate the forty-fifth anniversary of the church, detailing highlights of the congregation's history from the first \"parlor meetings\" in 1894 to the ceremonies held last April to celebrate the first forty-five years.\n\nImprovements have been made to the club meeting place through the efforts of Dr. Guy V. Rukke. A projection booth has been added to the north end of the meeting room, and additional seating facilities provided for the greater comfort of members.\nThe Amateur Movie Club of Hermosa Beach was organized in February of this year. We have maintained interest by assigning specific tasks to each member in our picture, which will soon be ready for the club editors. Meetings are held on the first and third Thursdays for a business session, program, and \"workshop.\" Recently, we have had a make-up man from Max Factor's studio in Hollywood on our programs. President K.G. Mathison advises that the proposed 8mm cooperative filming project will be combined with the Club Field Day. An announcement of time and place for both will be made at the next meeting.\nA head of a commercial firm, a color man from Burbank, and a professional movie editor make up the team. Rehearsals and shooting take place on the second and fourth Thursdays. One Sunday excursion per month is planned to photographic locations.\n\nMargaret M. Kronich, Alhambra, Calif.\n\nA large group of movie fans attended the May meeting of La Casa Moviemakers of Alhambra, Calif. An intriguing demonstration of fotofade was given by the Dye Research Laboratories of Los Angeles. The writer presented his film \"Our Glorious West,\" which offers a travelog of western national parks in natural color.\n\nMr. Winchester ran his 8mm film of Yellowstone, also in Kodachrome. A fine film was shown by Mr. Rodgers, featuring good photography of the San Francisco Fair. It was decided to continue the meetings through the summer.\nThe Cinema Club of San Francisco held its meeting at 1355 Market street on June 20. R.A. Battles, Publicity Chairman, screened the black and white and Kodachrome picture \"Guatemala.\" K.G. Stephens gave an illustrated talk on editing and titling. John Smurr ran his black and white and Kodachrome picture \"Yosemite in Winter Time.\" Louis Petri showed his Kodachrome pictures of \"Follies Bergere\" and \"Ice Follies.\" Through the courtesy of the Western Movie Supply, a Castle Film entitled \"Camera Thrills in Wildest Africa\" was shown.\n\nThe June meeting of the Los Angeles 8mm Club was held on the 13th at the Eastman Auditorium, 6706 Santa Monica Boulevard, Hollywood. President Leitch introduced eight new members to the club.\nA feature of the evening was Bill Wade's presentation of a series of synchronized pictures and sound depicting various methods of lighting subjects with photoflood lamps. Prepared by General Electric primarily for the education of still camera enthusiasts, the lighting of movie subjects being so similar, the members received great benefit from this showing.\n\nRegarding our annual contest, the president suggested the possibility of this year's pictures being judged by a dramatic critic, a cameraman, and an artist instead of the three cameramen system previously used. This would ensure fairer judging of the various types of pictures submitted as a basis of comparison.\nFor classification, pictures may be divided into the following categories: 50% for general interest, 10% for exposure, 10% for composition, 10% for editing, 10% for titling, and 10% for continuity.\n\nSubmitted pictures were from Members Ackerman, McEvers, Linn, Finck, Armstrong, Rhoads, Bevans, Crawford, Cornell, Hewitt, Kelly, Mc-tee, and Moore, all of whom earned a place on the Honor Roll.\n\nKodachrome dominated the screening, as only two 50-foot reels of pan were shown.\n\nK.J. Crawford's documentary on California wildflowers was well-done and both instructive and entertaining. Jack Cornell's picture was extremely interesting due to the wipes and dissolves demonstrated through the use of the Transito attachment in his camera.\n\nMeeting adjourned at 11 p.m.\n\nV.P. Burdick, Secretary.\nThe May meeting of the Los Angeles 8mm Club was held at the Bell & Howell Auditorium, 716 North La Brea avenue. C. William Wade was appointed chairman of the Shut-In Committee, replacing C. W. A. Cadarette, whose duties as editor of Thru the Filter prevented him from continuing in both capacities. Consideration of rules to govern our annual contest provided a lively business meeting, and many opinions were voiced by various members. After lengthy discussion, the following were adopted:\n\nSection 1. A contest for the judging of films made by Club members shall be held once each year and shall be known as the Annual Contest. The time for entry and judging thereof shall be provided for, such that the announcement of the winners, the giving of awards, and the viewing shall be at the Club's annual banquet held in December of each year.\nSection 2: Such other contests shall be held during the year as the incumbent officers deem advisable for the best interests of the club. The officers shall decide the time of entry and the method of judging all entries in all contests.\n\nSection 3: Only those members, excluding honorary members, whose dues are paid to and including the month of the meeting when the winners are announced shall be eligible to enter and participate in any contests held.\n\nSection 4: Any contestant may enter more than one picture. However, only one picture will be eligible to win a prize. Additional pictures will be judged and given honorary awards based on their placement. The award of a prize to any film shall not prevent it from winning the Horton Vacation Trophy or any other special award granted or given by persons other than this Club.\nSection 5: All contest pictures shall be 8mm in size, no reductions allowed; may be any length and must have an opening and closing title. Sub-titles are not required. No picture winning a prize in any annual contest shall be eligible for entry in any subsequent contest. Pictures, however, entered in monthly or mid-year contests shall be eligible for entry in annual contests. Films shown were those submitted by members Gecker, Parsons, Leitch, Smith, Gilley and Coleman, \"Santa Fe in Miniature\" by Allen P. Smith providing a real thrill for the model railroad fans present. This picture, taken of the Santa Fe exhibit at the 1936 San Diego fair.\nA scale model of part of their system was an excellent example of miniature set photography, especially when the camera was mounted in front of the engine to give the audience the sensation of actually riding on the train. V.P. Burdick, Secretary.\n\nAgfa Adds Three Cykoras\nAgfa Ansco introduced but a short time ago for portrait work, Agfa's new projection paper Cykora has been accorded such a reception by photographers that three new surfaces have now been made available to meet the demand for this paper in fields other than portraiture. The new surfaces \u2013 glossy single weight, commercial art single weight and commercial art double weight \u2013 are all offered in three contrast grades that are evenly spaced in gradation.\n\nWorld's Fair Movies\nThe Da-Lite Glass-Beaded Screen shows every scene exactly.\nas your camera took it \u2014 brilliant, clear, with details sharply defined and all gradations of color or tone faithfully reproduced. Da-Lite also makes White and Silver screens, but the Da-Lite Glass Beaded surface is recommended as best for average requirements. Available in many convenient styles, including the Challenger, shown above, now at reduced prices as low as $12.50*. Other styles as low as $2.00*. Write for details and name of nearest dealer. * Slightly higher on Pacific Coast.\n\nReg. U.S. Pat. Off.\n\nGLASS - BEADED SCREENS\nDA-LITE SCREEN CO., INC.\nNew B & L Specialty Head\n\nGeorge G. Tschume, head of photographic lens sales for the Bausch and Lomb Optical Company, has been named to assume management of the company\u2019s specialty department, left vacant by the resignation of Roy G. Walker.\n\nMr. Tschume has been in the company.\nA man's employment for thirty years, serving in the factory, production department, stock rooms, and as a sales representative in New York City.\n\nThe Chicago Cinema Club\n\nThe Chicago Cinema Club occupied its new permanent quarters at the Chicago Engineers\u2019 Club, 314 South Federal street, for all future meetings on June 1. In addition to many new conveniences, the club will have larger quarters, ensuring better accommodations for the rapidly growing organization.\n\nRegular weekly meetings are held throughout the summer. There was a picnic in June and a sailing trip in July. On August 3, there will be held a program for potential and expert fishermen. Expert Fishing Pictures will be shown.\n\nA Real Record\n\nCarroll Davidson of the Minneapolis Cine Club is a charter member with a perfect attendance record. The two brothers Sprungman, Ormal and Ralph,\nrunners up are those with one or two misses in three years, excused. The 1938-9 season recorded seventeen members with perfect attendance. Building Movies Around Music (Continued from Page 321) without a single break in music or action. In screenings which follow, film will always be in sync with the recording, provided both are started simultaneously and at the proper place. Special marks can be made on both record and film to aid in projection. Utilizing his synchro-talkie outfit, Leffler has been able to work up a complete picture from a recording of his own voice. This is cut from the usual blank and later played back during actual filming, at which time the subject goes through identical lip movements. Perhaps one of Leffler\u2019s most successful synchro-talkies was a movie recording of the old favorite \u201cMargy.\u201d\nLeifler, playing both the role of actor and director, oversaw photography. He appeared in a typical shaving scene during instruction, but broke into song as the vocal came on. To culminate his stunt, he selected a recording with a soprano voice. The feminine voice emerging from masculine lips, perfectly synchronized, elicits more than a chuckle from every audience.\n\nDye Transfer Enters Commercial Field (Continued from Page 310)\n\nComparison with various stages of the production on paper.\n\nWith the present cut size professional Kodachromes, it is possible to create high-quality separation negatives of identical size. Size variance has long been a challenging problem in one-shot camera work, and few, if any, have been able to completely eliminate it.\n\nCarbro, or other flexible color sheet materials, are used for this purpose.\nMaterials can use one-shot negatives successfully because they may be stretched into register, but the dye print does not lend itself to this procedure as all matrices must, by their very nature, be identically the same size and shape. Study and work on actual transfers over a period of several months has proven the extreme efficiency of the Color Process Laboratory's staff and has taken the transfer of color prints out of the hands of not only the advanced amateur but of professional photographers as well.\n\nFor it presents a singular concentration of artistic effort and scientific equipment, too exacting for the professional to devote his time toward perfecting without sacrifice of otherwise more profitable work.\n\nCommercial uses interesting, advertisers frequently make use of these dye transfer prints when it is necessary.\nIt is desirable to create composites in photography by separately photographing backgrounds from the action or subject part of the picture. This is a common phase in black and white photography, but too complicated and expensive for the color field heretofore. Prints of such high quality are used in commercial work where retouching or blocking is necessary to achieve a desired result. Halftone plates can then be made by the lithographer from the imbibition print. McLaine and Baker also provide balanced sets of fully masked separation negatives from which the imbibition prints have been made. These can then be used directly in the lithographic process.\n\nIt is never practical nor economical for the advertiser to have lithographic color plates made in small quantities. This is a field peculiarly fitted to the color separation process.\nimbibition of color prints, which may be furnished in small numbers from the original matrix at astonishingly economic prices. Such applications are frequently made toward the forming of salesmen\u2019s booklets, sample catalogues, and the like. Many prints made by Color Process Laboratories have been processed for the largest advertising firms in the country and have been used by them for 24 sheet posters seen along the highways, also for reproduction in the higher grade of periodicals.\n\nProfitable Child Portraiture by H. Rossiter Snyder. Fomo Publishing Company, Canton, Ohio. Revised\nThis is No. 3 of the new series of \u201cProfitable Photography\u201d booklets by the author, well known as a camera writer. The chapters are \u201cWhat Is the Business Like?\u201d, \u201cMaking the Child Portrait\u201d, \u201cThe Business End of Child Portraiture\u201d, \u201cMechanical and Darkroom Procedures\u201d and \u201cChild Portraiture as a Business\u201d.\nThe booklet is packed with suggestions for photographing children, appealing to both the amateur and professional. \"I would not operate with a camera making smaller than four by five inch negatives,\" writes the author. \"Simply on account of the psychological effect which a too-small camera gives. Although a 3x4 by 4.5 reflex with my same lenses would serve my purpose equally well and be lighter to carry and slightly more economical to operate, I would not work with it in child portraiture. If the equipment appears to be of too small a size, you are looked upon as an ordinary snapshotter; your work, no matter how good, will not command the same respect or prices over a long period of time. At best, it will be said of you, 'Yes, he is clever with his baby camera.'\" - Art Reeves\nPicture\n\nEquipment:\nStudio and Laboratory Tested Since 1929\nAutomatic Developing Machine\nComplete in Every Detail\nHollywood Users Can Attest to Its Superiority\n\u2022 Sensitometer\n\u2022 Variable Density Sound System\n\u2022 Variable Area Sound System\n\u2022 Single System\n\u2022 Re-recording System\n\u2022 Microphone Boom\n\u2022 Reeves Lites\n\u2022 Sound Accessories\n\u2022 Laboratory Accessories\n\nArt Reeves\nCable Address: ARTREEVES\n7512 Santa Monica Blvd.\nHollywood, California, USA\n\nJuly, 1939 - American Cinematographer 327\n\nBy Cinemaker\n\nScene 1 (Exterior). In front of Florence's home. A small car drives up, and Allan alights. He crosses to the front door.\n\nScene 2 (Medium). Allan rings the doorbell and is admitted by her father, who greets him with affability. He likes to see Allan and is glad that a fellow of his commendable sort calls on his daughter.\n\nScene 3 (Interior). Florence's living-room.\nHer mother seated, sewing, as Allan and she entered. Her mother's sentiments regarding Allan were the same as her father's. Her father waved Allan to a chair and proffered him a cigar, seating himself in a nearby chair. Her mother rose and indicated she'd go up and hasten Florence.\n\nScene 4 (Medium). Her mother going up stairs.\n\nFlorence - a foolish femme.\nHer Mother - who hopes for the best.\nHer Father - who fears the worst.\nAllan - whose love is unwanted.\nMadge - her co-hero-worshiper.\nSteve - resort's athletic pro.\n\n(Properties)\nTwo small cars, luggage, sport clothes, etc., for a vacation at a Lakeside resort, the like of which exists in every State in the Union.\nAssortment of various sports action pictures.\n\nScene 5 (Interior Florence\u2019s room). As her mother comes in the door, Florence is seated at her dressing table.\nA woman applying make-up. The room is filled with various photographs, rotogravure pages, revealing prominent movie, sports, and other athletic stars in action poses. Footballers carrying the ball, tennis champs in action, aquaplane riders, polo players, and others establish the fact that Florence is an extreme hero-worshiper.\n\nWhen her mother tells her that Allan is waiting for her downstairs, she shrugs. Narrative, descriptive, or dialogues sub-titles may be used. This irritates her mother, who likes Allan and detests her daughter\u2019s foolish hero-worship. Her mother waves a deprecating hand toward the various pictures adorning the walls. It\u2019s a lot of nonsense \u2013 this dream-chasing.\n\nOn a table or desk, from behind an assortment of other \u201chero\u201d pictures, her mother draws out a photo of Allan and places it in front of the others. Her mother's hand is visible in the scene.\ndaughter shrugs again. He\u2019s all right \u2014 until the real thing comes along.\n\n100 Ft. REEL 16MM FEATURE\nSAN FRANCISCO $-195\nWORLD'S FAIR\nShow as is or splice with your own film. California buyers include sales tax.\n\nHollywoodland Studios\nSouth Gate, California\nFAXON DEAN INC.\nCAMERAS\nBlimps-Dollies FOR RENT\n4516 Sunset Boulevard\nFilm Developing Machinery\nA New Driving Principle\nSIMPLICITY OF DESIGN\u2014 ECONOMY OF OPERATION\nALL MODELS COMPLETE\nwith TEMPERATURE CONTROL FOR DEVELOPER and DEVELOPER AGITATION UNITS\nNO SPROCKETS\u2014 NO PRECISION MAINTENANCE\nHandles POSITIVE AND NEGATIVE STOCK\nCONSTANT SPEED\u2014 PERFECT CONTROL\u2014 GREAT FLEXIBILITY\n\nFonda Machinery Company\n8928 Santa Monica Blvd. LOS ANGELES, CALIF.\nCable Address \u201cFonda\"\nMotion Picture camera Supply-\n723 SEVENTH Ave. NEW YORK, NY\nBRyant 9-7754 J. Burci Conter Cab/ f: CINECAMERA\nScene 3 (Interior, American Cinematographer, July 1939):\n\nAllan and she have known each other for six months after meeting last winter. He's the right type for her. Allan is intensely in love with Florence and wants to marry her. They go downstairs together.\n\nScene 6 (Interior, living room): Allan and her father agreeably converse as Florence and her mother enter. Both men rise. Bidding adieu to her parents, Allan takes Florence's arm, and they leave.\n\nScene 7 (Exterior, front of Florence's home): Florence and Allan cross to his car and enter. They drive off (Fade-out).\n\nScene 8 (Fade-in, Dusk, Exterior): Allan and Florence are parked by the roadside in a romantic setting. His arm is around her shoulders, and he's telling her how he adores her, worships her \u2013 loves her. Unresponsively, she accepts his kisses. She listens attentively, but with indifference.\nShe tells him she appreciates his enthusiasm but doesn't love him. She may change someday but doubts it. He is sad, downcast, discouraged, and slightly heart-broken. With a sigh, he starts the car. They drive off.\n\nScene 9 (Fade-in). Florence's room. Florence is packing for a vacation trip. Seated is Madge, her girl friend who's going with her to a nearby Lakeside resort. Madge gets up and wanders about the room inspecting the various pictures. While she, too, is a hero-worshiper like Florence, she doesn't carry it to the extreme that Florence does. Madge comes to Allan's photo, picks it up.\n\nShe has never met Allan formally but knows all about him from Florence. She thinks Florence is foolish to treat him the way she does. Secretly,\nShe'd like to have a fellow like Allan, but she knows she can't do anything about it and still remain Florence's friend. And, like almost all women, she puts her girl-friend's friendship ahead of that of any man. Kiddingly, she suggests that if Florence doesn't want a Vignetter, sunshade, or filter holder, it produces a rectangular fade at any desired speed with manual control. No metal shutters to rust. Light weight and rugged construction with five moving parts. Fits all cameras, 8 or 16 mm., to one lens collars. No interference with viewfinder. Comes with a Wesco filter holder accommodating 25 mm. round filters. Special adapter for Eastman lenses. 75c. When ordering, specify make, model, and lens. Ask your dealer for a demonstration. Western Movie Supply Co. 254 Sutter Street San Francisco.\nFlorence registers a suspicious glare at Madge but, seeing she is only kidding, agrees that she can have him if her tastes are so easily pleased. After finishing her packing, the two girls leave. (Fade-out)\n\nScene 10 (Florence\u2019s living-room)\nFlorence kisses her mother and father goodbye, who watch the two girls to the door. (Fade-out)\n\nScene 11 (Exterior, Florence\u2019s home)\nThe two girls leave and board Florence\u2019s small car. The bags are stowed in the back. They drive off. (Fade-out)\n\nScene 12 (Fade-in, long-shot)\nPanorama of lakeside resort, including angle shots from various vantage points; not forgetting sky, trees, landscape effects, as well as gay activities of swimmers, boaters, aquaplaners, fishers, etc. (Fade-out)\n\nScene 13 (Exterior)\nFlorence and Madge stroll along a promenade. They pause to watch Steve, the resort\u2019s lifeguard.\nathlete performing fancy dives. There are several girls watching, their admiration and applause evident after each dive (close-ups of dives).\n\nScene 14 (Medium). Florence nudges Madge, indicating that's the kind of man she wants. Madge indicates the mob. There's too much competition. Florence shrugs - what does she care for competition? She can outshine any girl there. Besides, she knows how to play up and use to great advantage what all the boys go for - and the bigger they are, the harder they fall (fade-out).\n\nScene 15 (Medium). Florence and Madge strolling back along the way they came. Florence's jaw sags.\n\nScene 16 (Close-up). Florence, her jaw sagging, first irritated, then annoyed. (Pan camera to pick up what she's looking at.)\n\nScene 17 (Medium-long). Allan alights.\nFrom his car carrying a suitcase, he walked towards the registration place. Scene 18 (Medium): Florence signals Madge to wait there, as she'll only be a minute. She is going to give Allan a piece of her mind. Scene 19 (Medium): Beside the registry. Florence storms into the scene, seething with impulsiveness, and demands to know from Allan why he followed her here; it was presumptuous of him to think he could tag along and cramp her style; just because he had known her for six months and had a few dates with her, he didn't own her, etc. (Subtitles may be necessary, unless the girl acts.) She ends up saying that she is registering Special 8mm* and 16mm* Film Subjects: Waller Lantz's Famous Three Little Monkeys \u2014 Meany, Miny, and Moe. Let these popular, world-famous stars work for you. These sensational comedians will entertain you.\nMake every home movie program a complete success. Give your customers a real treat. Stock this profitable home movie line. We are also the exclusive licensee of Walt Disney\u2019s Mickey Mouse and Donald Duck, and Walter Lantz\u2019s Oswald Rabbit.\n\nSend for our new catalog. Ready soon, listing several hundred cartoons, comedies, travelogues and westerns.\n\nHollywood Film Enterprises, Inc.\n6060 Sunset Blvd., Hollywood, California\n\nLanders & Trissel, Inc.\n- RENTALS - SERVICE -\nMotion Picture Cameras - Blimps - Dollies - Camera Crane\nAnd all accessories\n\nPhone:\n6313 Sunset Boulevard, Night (near Vine Street)\nLanders HE 1311, Hollywood, California 25992\n\nJuly, 1939 \u2022 American Cinematographer 329\n\nAllan hates him for coming up and never wants to speak to him again. He kindly requests that he not speak to her again.\n\nScene 20 (Medium): Allan is abashed.\nAnd he was embarrassed but weathered it well, to the amazement of the bystanders. He indicated that it was a public resort, and anyone may come and go as they chose.\n\nScene 21 (Medium). Florence, giving him one final glare, flounced out of the picture.\n\nScene 22 (Medium). Madge observed the above scene with considerable personal interest. So this is Allan. He looked pretty good to her. Although she had seen his picture many times and heard much about him from Florence in the latter's depreciating manner, this was the first time she had actually seen him. One supercilious eyebrow raised as we \u2014 (Fade-out.)\n\nScene 23 (Fade-in) (Medium). Florence, without Madge watching, flirted with Steve at some sport (i.e., whatever was available: diving, aquaplaning, archery, tennis, badminton, et al.). She flirted with him, and he responded. They made a date for\nLater that evening, she leaves to find Madge.\n\nScene 24 (Medium). Allan enters and joins the sport, dominated by the pi-o and pi-oves, striving to be as good as the pro, who wins his sincere and complete respect. Allan and Steve get along well, like a couple of buddies.\n\nWhen Allan expresses complimentary envy for Steve's popularity with the females, Steve only shrugs and expresses that he's bored with all of them but has to be nice to them because it's part of his job.\n\nFact is, Steve wouldn't give a candle for the best of them. As they continue with the sport in which they are participating (in fact, several sports may be used if they are available in a series of sequences), the feminine followers and amateur participants hail Allan in preference to Steve\u2014because Steve is the pi-o and works at it for a living.\nAllan is a guest and is otherwise fair prey for the brief time he'll be there. Allan takes these \"weaned-away-from-the-pi'o\" followers in stride and it doesn't go to his head. In fact, the only time he loses mental equilibrium is when he's talking to the girl he loves. When this happens, his arms are all hands, and his hands are all thumbs, and he's also tongue-tied. But, girls don't appreciate this as true signs of love, rather than the stupidity, dumbness.\n\nCamera Supply Company\nART Reeves\n1515 North Cahuenga Boulevard\nHollywood, Cable Address \u2014 Cameras, California\nEfficient-Courteous Service\nGordon Bennett \u2014 Manager\nEverything Photographic\nNew and Used Equipment\nBought \u2014 Sold \u2014 Rented\nProfessional and Amateur\nFAST FILM or SLOW, there is a Solarspot\nfor EVERY lighting need\nMole-Richardson Co.\n941 No. Sycamore Ave., Hollywood, Calif. Cables: \"Morric\"\n\n(Note: There are some errors in the given text, such as \"pi'o\" instead of \"pacific\", \"appi'eciate\" instead of \"appreciate\", and \"dumb\u00ac\" instead of \"dumbness\". These have been corrected in the cleaned text above.)\nScene 25 (Medium-close): Florence and Madge sitting, sipping a drink. Florence brags to Madge that she has a date with Steve that night; and that, after she has him \"hooked,\" she'll ask him to bring a friend who's as good at various sports as he is for a double date with Madge the next night. (Fade-out.)\n\nScene 26 (Evening): Florence and Steve\n\nFried Camera Co.\n6154 Santa Monica Blvd.\nHollywood, California\nCable Address: FRIEDCAMCO\nDeveloping Machines ... Printers, Light Testing Machines\nLenses for sale by\nMitchell Camera Corporation\n665 North Robertson Blvd.\nWest Hollywood, California\n330 American Cinematographer \u2022 July, 1939\nScene 27 (Close-up). Florence throws herself into Steve's arms as soon as the opportunity arises and we fade out.\n\nScene 28 (Medium) (Fade-in) (Night). Florence and Steve returning from whatever they've been doing (canoeing, walking, etc.). They meet Madge strolling with a young fellow she's met at the dance. Florence introduces Madge to Steve. The two pairs go their respective ways.\n\nScene 29 (Medium-close). Florence, possessively hanging on to Steve, tells him that's her girlfriend and will he get a friend for her for the next night and make up a foursome. He agrees. (Fade-out.)\n\nScene 30 (Day) (Fade-in) (Medium). Steve and Allan engaged in one of their favorite sports. Madge strolls by without Florence.\n\nHollywood\nOutdoor\nIs a\nQuality\nNon-\nHalation\nFor Outdoor Use only. Produces clear, sharp pictures. Buy film by mail and save.\n\nHollywood Outdoor Film\nCj $50 per 100 foot roll, plus 10c a roll. Min. 2 rolls at this lot price. Cost includes machine processing, spooling, mailing. Fits all 100 ft. cameras, wound on 100 ft. daylight loading spools. 1/3 cash with COD orders. California buyers include sales tax.\n\nHollywoodland Studios\nSouth Gate, California\n\nGuarantee\nRugged construction and critical manufacturing standards enable us to guarantee efficient performance of the B-M Model F Sound Recording Unit for two full years without regard for the amount of footage recorded. Write for literature.\n\nB-M\nSound Recording Unit\nModel F\nA compact, rugged, and simplified 35 mm SOF recording unit for symmetrical VA track\n\nFrequency.\nScene 31 (Medium-close). Steve nudges Allan and indicates Madge, asking, \"How would you like to make up a foursome with her and another girl you know?\" Never having met Madge and not knowing Steve's other friend, Allan agrees.\n\nScene 32 (Medium). Steve and Allan continue to receive the adulations of the crowd of girls as they continue their sport. Florence joins Madge in the throng, and for the first time observes Allan's prowess.\n\nScene 33 (Close-up). Florence, amazed at Allan's ability, never dreamed he had all this in him. Inwardly, she begins to feel sorry for the way she's treated him. But outwardly, her stubborn pride won't let her give an inch\u2014much less admit she's wrong.\n\nScene 34 (Medium). Irritated by Allan's popularity, Florence drags herself away from the crowd.\nScene 35 (Close-up). Madge pulls away from the mob of \"dizzy dames,\" not realizing she's one of them. She suggests they do something else.\n\nScene 35 (Close-up). Madge is amused by Florence's irritation. Although she doesn't want to leave the audience watching the two boys, she agrees to leave with Florence. (Fade-out.)\n\nScene 36 (Fade-in) (Night) (Medium). The trysting place where Florence and Madge are to meet Steve and Allan. Florence still doesn't know that the extra man is Allan. When they get close enough for recognition, Florence is amazed to see Allan, but quickly recovers and throws herself into Steve's arms for a kiss.\n\nScene 37 (Close-up). Florence in Steve's embrace, as she watches out of the corner of her eye the greeting between Allan and Madge, which is relatively formal.\n\nScene 38 (Medium). The four chat.\nting as they link arms in couples and stroll away by pairs. Scene 39 (Medium). All four return. Eastern HEADQUARTERS for the CAMERAMEN. gf&u- MITCHELL CLANS rrHELL CAMERAS nn\u00bb7:M7/-vai STUDIO & CUTTING Louies 7 R\u00b0\u00b0M EQUIPMENT imrr^'OHTS-l FRANK-ZUCKER CABLE ADDRESS: CINEQUIP (Vamera Equipment 1600 Broadway ny.c. Circle 6-5080). The New American Cinematographer Hand Book Reference guide ritesc. A, c. Right off the press with all the answers. MOVIES OR STILL PROFESSIONAL OR AMATEUR.\n35mm, 16mm, 8mm motion pictures, tables and charts for Cine cameras, film, filters, lenses, angles, miniature cameras, lights, calculators, color systems, exposure meters, timers, projection, developers, toners, etc. Over 200 pages of essential material.\n\nThe Best Hand Book of Its Kind Ever Published\n\nPRICE $3.00\n\nSend for descriptive circular.\n\nJackson J. Rose, A.S.C.\n1165 North Berendo St.\nHollywood, CA\n\nJuly, 1939 \u2022 American Cinematographer\n\nScene 40 (Close-up). Florence and Steve. They part for intimate conversations.\n\nScene 41 (Close-up). Allan and Madge. He asks her to meet him alone early in the morning without Florence, for a swim or a horse-back ride (or whatever is available) to which she agrees. He kisses her (lightly), to which she responds.\nScene 42 (Medium). The two men go off together in one direction, and the two girls in another. (Fade-out.)\nScene 43 (Interior) (Medium). The two girls in their room. Florence begins to act chillily towards Madge. Madge remonstrates that she didn't know. It's the beginning of a big row to come later. In this scene, the chilliness of Florence towards Madge begins to permeate their environment. (Fade-out.)\nScene 44 (Fade-in) (Exterior). The trysting place of Allan and Madge. They stroll off for their swim or canoe ride or hike or horse-back ride, or whatever it is.\nScene 45 (Medium-close). Allan and Madge in repose and in intimate conversation. To all appearances, they are \"a peach of a pair.\" They seem to belong together.\nThey discuss various things, particularly clouds, trees, grass, and nature in general. Time flies as they converse.\n\nScene 46 (Medium): Florence, suspecting that Madge is out with Allan, tries to wander about casually but actually looking for them. She eventually finds them in Scene 45.\n\nScene 47 (Medium): Same as Scene 45. Allan and Madge enter with Florence. Florence snubs Allan emphatically and begins to scold Madge. She does so impetuously, jealously, wrathfully, and makes a scene. Madge handles the situation beautifully, calmly reminding Florence of her past attitude towards Allan, a attitude frequently expressed to Madge since they have known each other.\n\nFinally, unable to bear Madge's calm demeanor, Florence loses control.\nCalmness, more unbearable than her accuracy, Florence slaps her face. Then Allan sees the light. Realizing what an unspeakable girl he has been in love with, he steps into the proceedings and sides with Madge. (This business may be handled at the discretion of the director, pending on the dramatic ability of his players.) Finally, Madge and Allan depart, leaving Florence fuming. (Fade out.)\n\nScene 48 (Fade in) (Exterior). Madge and Allan put their bags in Allan's car. They both have decided they are very much in love. They both enter the car, and after several generous demonstrations of affection, they drive off.\n\nScene 49 (Medium). Florence in another part of the resort trying to hide her emotions.\nShe sees her chagrin. She sees Steve \u2013 but he sees her first \u2013 and when she approaches him, he begs to be excused \u2013 he has work to do. A new feminine arrival is near Steve, on whom he seems to be concentrating.\n\nScene 50 (Medium). Florence sees a handsome new male arrival, and she \u2013\n\nMODERN MOVIES- INC.\ncomplete 16mm service\nPicture and Track Negatives and Prints machine-processed in our air-conditioned laboratory.\n\nOptical Printing\nTitles Special Effects\n6018 Fountain Avenue\nHollywood California\nGOERZ\nKINO-HYPAR Lenses\ntake charming Color Movies of Vacation, Sport and Travel Scenes on Kodachrome, Oufaycolor and other color films.\n\nThe high chromatic correction of these lenses will yield results which will be a revelation to you and your friends. Clear-cut images, undistorted, of microscopic definition and wonderful, crisp brilliance.\nFocal lengths: 15 mm. to 100 mm. can be fitted in suitable focusing mounts to Amateur and Professional Movie Cameras.\n\nGOERZ REFLEX FOCUSER\n\u2014 Patented \u2014\nA boon to 16 mm. Movie Camera users \u2014 eliminates parallax between finder and lens \u2014 provides full-size ground-glass image magnified 10 times.\nAdaptable to Lenses 3\" and up\nAlso useful as Extension Tube for shorter focus lenses for close-ups\nExtensively used in shooting surgical operations, small animal life, etc.\n\nAddress: Dept. AC-7\nC.P.GOERZ AMERICAN OPTICAL CO.\nAmerican Lens Makers Since 1899\n\nAgfa Introduces New 16mm. High Speed Reversible Film\n\nClimaxing a period of extensive research, Agfa Ansco now introduces Triple S Superpan Reversible, a new 16mm. motion picture film that provides\nThe new film is extremely fast without sacrificing other desirable emulsion characteristics. It is four times faster than Agfa 16mm. Superpan Reversible permits two lens stops less exposure or a corresponding increase in subject range for any camera in which it is used. Due to its extreme speed, Triple S Superpan is ideal for outdoor and indoor night scenes, for slow motion films of football, baseball, hockey, and other sports in poor light, and for a wide range of other subjects which have heretofore been beyond the reach of cin\u00e9 equipment. Of equal importance to this increase in speed, Agfa Triple S Superpan Reversible combines high sensitivity, exceptionally fine grain, and brilliant gradation, thus assuring clear, sparkling pictures on the screen. The film's latitude is also excellent. Halation is not specified.\nProtection is provided by the effective under-layer used on all Agfa reversible films.\n\nGeorges Benoit Begins Shooting in Cairo, Egypt\n\nGeorges Benoit, A.S.C., foreign representative of The American Cinematographer, is now in Egypt, where he will photograph for the Abdel-Wahab Film Company, a production headed by the famous M. Abdel-Wahab. The star is the greatest singer of all the Muslim countries. He is directed by the well-known M. Mohammed Karim.\n\nIt is Benoit\u2019s fourth production with the same company. Each of these so far has been started in Cairo and finished in one of the Paris major studios.\n\nProduction is expected to continue about two months. Due to the warm weather, work usually begins at 4 p.m. and finishes at midnight.\n\nThe cinematographer is the only European member of the company, all the others being Egyptians. Nevertheless,\nThe producer and the star speak both French and English, making it simple for the photographer. J. Pfllter (J. P. Fter) in \"In the World\" (Old Us)\ny'M effects in Daytime Seen\nDiffused Fvycus and many vtlivr vftads\nG. Corcje H. Schibc\nORIGINATOR OF EFFECT FILTERS\n1927 WEST 78th ST, LOS ANGELES, CA\nAmerican Cinematographer \u2022 July, 1939\nGovernment and Amateurs in Bombay Join for Uplift\nThe Government of Bombay is cooperating with the Amateur Cine Society of India in order to get films which will teach industrial workers something of social uplift in its various forms. It is offering a first prize of Rs. 500 and total cash prizes of Rs. 750 for substandard cine films.\nThis is part of a larger contest organized by the Amateur Cine Society of India from its headquarters at Scouts\u2019 Hut, Esplanade Maidan, Bombay. For this competition, there is a total of Rs.\nThere are twenty-three prizes in total. The majority are in cash, with a handful of cups. The best film receives a cup, and there is a separate cup for the best color cameo of 100 feet. Ten bronze plaques, designed by the Sir J. J. School of Art in Bombay, are awarded for the ten best films of India, Burma, and Ceylon. The closing date is at the end of the year, and entry forms with full particulars can be found in the brochure \"Amateur Cine Work in India\" issued by the A.C.S.I.\n\nAgfa Ansco introduces new 20-exposure Leica cartridge. Users of Leica and similar 35mm. miniature cameras who prefer film lengths shorter than the standard 36-exposure load will be interested in the new 20-exposure Agfa film cartridge, available in five popular types.\nAgfa 35mm. film \u2014 Fine Grain Plenachrome, Superpan Supreme, Ultra-Speed Panchromatic, Finopan, and Infra-Red. The 20-exposure length is supplied in the same improved-type daylight-loading cartridge used for 36-exposure lengths of Agfa film.\n\nThe new 20-exposure cartridge does not replace the 36-exposure unit, merely supplementing it to round out the group of Agfa 35mm. films. Made by Agfa Ansco Corporation in Binghamton, NY, these new film cartridges are now in dealers\u2019 stocks and are listed at the following prices: Superpan Supreme, Finopan and Ultra-Speed Pan, 65 cents each; F.G. Plenachrome, 60 cents; Infra-Red, 75 cents.\n\nJapan tightens film grip\n\nThe Government of Japan is taking steps to control all phases of the motion picture industry in that country, according to a report from Consul S.G. Slaven, Tokyo.\nSpecial Motion Picture Printing, 1197 Merchandise Mart, Chicago. Under a proposed law being considered by the Imperial Diet, an official permission must be obtained to engage in the film industry. This permission may be withdrawn at the will of the Government. Control over films as proposed by the law includes not only censorship but also designation of the kinds of pictures to be produced. The importation of foreign films and the exportation of Japanese films will be officially controlled, according to the report.\n\nFirst Mid-Western Forum Conducts Two-Day Session\n\nDue to the greatly increasing use and demand for visual and audio-visual aids, the First Mid-Western Forum on Visual Teaching Aids was held at the Hotel Morrison, Chicago, May 12 and 13. The primary purpose of the program for this First Mid-Western Forum on Visual Teaching Aids.\nThe Visual Teaching Aids program aimed to assist classroom teachers in learning about visual teaching tools. Each day, the program was divided into the following: MUST SACRIFICE DE BRIE SUPER PARV0 /Veto Type Ultra Silent Camera \u2014 /Vo Blimp Required. This camera featured a built-in motor, automatic dissolve, pilot pins, and an anti-buckling device. It had 1000-ft. magazines for 40 mm, 50 mm, and 75 mm, F2.3 lenses, a De Brie upright finder, and a set of front attachments. The equipment was leather covered and came with a carrying trunk. It was the latest type from Camera Equipment Co., located at 1600 Broadway, New York City, with a phone number of Tel. Circle 6-5080 and cable: Cinequip. Cooke Lenses have gained worldwide recognition among experienced cinematographers due to their superior results under all conditions. They offer focal lengths for every need. For a descriptive circular, write to Bell & Howell Company, exclusive world distributors of Taylor-Hobson Cooke Cine Lenses.\n1848: Larchmont Avenue, Chicago; 30 Rockefeller Plaza, New York; 716 N. La Brea Ave, Hollywood; 13-14 Great Castle St, London, divided into three clinics: the elementary school, high school, and college clinic. The distinctive features in these clinics were beneficial and enlightening.\n\nBiological Photographic Association Convention\nThe ninth annual convention of the Biological Photographic Association took place September 14-16 at the Mellon Institute for Industrial Research, Pittsburgh, PA. The program attracted scientific photographers, scientists employing photography in their work, biological teachers, technical experts, and dedicated amateurs. Topics covered included motion picture and still photography, photomicrography, color and monochrome films, processing, etc., all in the realm of scientific illustration.\nUp-to-date equipment was shown in the technical exhibit, and the Print Salon displayed the work of many leading biological photographers here and abroad. The Biological Photographic Association was founded nine years ago due to the growing need for expert illustrative material for scientific research and teaching.\n\nInformation about the association and the convention can be obtained by writing the secretary of the Biological Photographic Association, University Office, Magee Hospital, Pittsburgh, Pa.\n\nUnivex Now Has Three Lens Turret for 8mm. Cameras\n\nThe Universal Camera Corporation of 28 West Twenty-third street, New York, has produced a Univex three-lens turret 8mm. camera with either 4.5 or 3.5 lens. For the two others, the purchaser may select lenses of varying speeds and focal lengths to suit particular needs.\nThe new turret camera with three lenses weighs less than three pounds. One of the lenses can be snapped into position instantly. Harmon Foundation, Inc., New York, completed a motion picture on the typewriter - the first of its kind. Six major typing companies assisted in producing this three-reel 16mm silent film titled \"Know Your Typewriter\". It uses 200 ft. 8mm film in double 8mm width, priced at $1.75 for titles, negatives, reversal, and positives. Lab reports and formulas are included. Write for more information.\n\n8mm (Non Halation) Weston 8\nFine grain, semi-ortho\nCan be used in any straight or double 8mm camera.\nCatalog on bulk film. 8mm, 16mm, 35mm.\n\nHollywoodland Studios, South Gate, California.\nJuly, 1939. American Cinematographer 333.\n\nCamera Pictorialists of Bombay\nHold Third Salon\n\nUnder the auspices of the Camera Pictorialists of Bombay, the third Indian international salon of photographic art will be held at the Town Hall, Bombay, during the coming November. The Pictorialists are affiliated with the Royal Photographic Society of Great Britain.\n\nThe exhibition will be held under the patronage of Sir Roger Lumley, governor of Bombay. The last day for receiving entries will be September 8, 1939. Not more than four prints, which must be the unaided work of the entrant (mounting excepted), may be submitted by any one contributor. Each print must have on the back clearly written in block letters the section, number, and title of print; name and address of contributor.\nN.B. Cooper, honorary secretary, calls attention of contributors to the closing date of receiving entries, expressing regret that at the last exhibition it was necessary to return an unusually large number of entries received too late for consideration. Inquiry at the local post office brings information that the normal mailing time between Bombay and New York is from nineteen to twenty-three days.\n\nSound Men: Witness Vocoder Tryout (Continued from Page 296)\n\nThe voice seems more brilliant twice normal, and when four times normal, it sounds febrile and unnatural. The controls can be reversed so that high becomes low; the tune of a song is unrecognizable, and speech has the odd lilting character of Scandinavian tongues.\n\nMr. Dudley then explained the fundamentals of the Vocoder circuit.\nMr. Vadersen demonstrated the tonal qualities of a sentence using a Vocoder, which ran up and down the electrical frequency scale. At the low end, the voice was a deep rumble, while at the top side was a shrill sound with words faintly recognizable. Then, Mr. Vadersen spoke into the microphone in normal tones, but the voice of an old man emerged from the loudspeaker. By combining three different pitch channels of the Vocoder, one voice came out of the loudspeaker as a trio singing in unison. Through records played on a turntable and attached to the Vocoder, the demonstration showed that speech can be created out of complex sounds and used as examples of a train, an airplane flying overhead, the musical tones of a pipe organ, and the hum of a power generator. The uncanny and magical creation.\nFrom the purring aeroplane and the train, but most amazing were the word accompaniments created by the Vocoder from musical instruments. A pipe organ record suddenly transformed the treble notes of the chorus into easily recognizable words \u2014 and the exact words of the song itself. The same effect was secured by Vocoder treatment of a recording of a string quartette.\n\nBritish Cinematographer Talks of Hollywood (Continued from Page 303)\n\nTen cameras and their crews were ready to go on at almost as short notice. In England, we are not so fortunate. In too many cases, a camera mishap, or a sudden call for extra cameras, can mean exasperating delays to production, simply because the studio is not likely to be equipped with many spares.\n\nIn general, the chief differences between Hollywood and English production lie in such little things as that.\nTitle: Accessories and American Influence in British Studios\n\nThe accessories which we often have to improvise on the spot, but which you in Hollywood not only have already as a result of the many years of production activity in your studios, but which you take as a matter of course.\n\nAmerican Influence\n\nMuch of the general similarity between Hollywood and British studios, methods, and equipment can be credited to the influence of several American cinematographers and other technicians who have been active in British production during recent years.\n\nAn American art director, Jack Okey, designed and built the Denham Studio; other American photographers and technicians have had much influence in equipping our studios with the things which Hollywood's years of experience had proven best.\n\nSome of my more impetuous compatriots have expressed resentment at the activities of American cinematographers.\nI have never been able to justify the attitude of British studios towards local technicians. I do not believe that the activities of any outstanding Americans who have made pictures in our British studios have kept any comparably capable British technicians out of work.\n\nOn the contrary, we have much to thank our American fellow-cinematographers for. At the time when we were most urgently in need of it, they brought to us the most up-to-date knowledge of methods and materials from the world\u2019s greatest production center \u2013 knowledge which has played an important part in the last few years\u2019 progress in British films.\n\nFurthermore, their work and the salaries they were paid have done much to impress our producers with the value of capable photographers. These salaries, in turn, are bearing fruit in a slow but steady improvement in British films.\nThe steady improvement in compensation for British cameramen and their crews. As compared to American standards, there is still much to be done in this regard. However, I feel that the influence of American cinematographers who have made pictures in British studios has started the ball rolling in the right direction.\n\nClassified Advertising\n\nFOR SALE\nDE BRIE MODEL \u201cL\u201d CAMERA complete with tripod, fast lenses, magazine, and motor. Good condition.\n\nMOTION PICTURE CAMERA SUPPLY, INC.\n723 Seventh Avenue, New York City\nCable Address: Cinecamera\n\nThe world's largest variety of Studio and Laboratory equipment with the latest improvements as used in Hollywood at tremendous savings. New and Used. Mitchell, Bell-Howell, Akeley, De Brie, Eyemo, animation process cameras, lenses, color magazines, adaptors, lighting equipment, silencing blimps, dollies.\nPrinters, splicers, moviolas, motors, light-testers, gear boxes, synchronizers. Guaranteed optically and mechanically perfect. Send for bargain catalogue.\n\nHollywood Camera Exchange\n1600 Cahuenga Blvd. Hollywood, Calif.\nCable : Hocamex\n\nNew Precision Test Reel for Projection and Sound. Developed by prominent SMPE member. Combination visual, sound tests for all soundtrack adjustments. Indicates travel ghost, sidesway, picture jump, etc. Contains visual targets and constant level frequencies. W.E. Mirrophonic recording. Truly simplified, easily understood. Comparative value, $76.00. With full instructions, $29.60. 16mm Mitchell, Bell & Howell. Debrie, Wilart, Neumann - Sinclair, DeVry, EyeMo Cameras sold, bought, exchanged. Victor, Filmo, 8-16MM cameras, lenses, accessories. Trades, time payments arranged.\n\nCamera Mart, Inc.\n70 West 45th St. New York\n\nEastman 16MM Kodascope Special.\nMcLarty Business Films, Certain-teed Building, Buffalo, NY. 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. Western Electric interlock motor mounted on door for Mitchell Standard Camera. Camera Equipment Company, 1600 Broadway, New York City. Tel. Circle 6-5080 _ Cable: Cinequip. 35mm Professional Bell & Howell Single System Sound Recording Camera, with silent check pawl ultra-speed movement, turret front, four lenses, complete with microphone, amplifier, 12 volt generator, cases, tripod, mag. Bass Camera Company, 179 West Madison St. Chicago, Ill. Wanted. We pay cash for everything photo-graphic. Hollywood Camera Exchange. 1600 Cahuenga Blvd., Hollywood.\nWanted to buy for cash: cameras and accessories\nMitchell, B & H, Eyemo, Debrie, Akeley\nAlso laboratory and cutting room equipment\nCamera Equipment Company\n1600 Broadway, New York City\nCable: Cinequip\nPrecision-made by Bell & Howell\nAddress,\nState,\nName.\nDouble your lens field with a hyper C/Nor lens attachment\nNew low-cost Filmo tripod\nThe new Filmo Tru-Pan tripod, though priced in keeping with the economy of 8 mm. movie-making, provides the same all-round utility and smoothness of action for its pan and tilt head is the same. The Tru-Pan two-section legs, of selected straight-grained birch, are strong and rigid, and may be adjusted to a wide range of lengths. Price: $18.75\nLenses\nBefore your vacation, increase your Filmo's versatility by getting an extra lens.\nYour dealer offers fine color-corrected Taylor-Hobson and B&H lenses for your Filmo. Some of these are:\n\nFOR 8 MM. FILMOS\n- For single-lens 8's, not for Turret 8.\n- Bell & Howell Company: Chicago, New York, Hollywood, London. Est. 1907.\n- Mail coupon for details on all Filmo accessories\n- Bell 8c Howell Company\n- 1848 Larchmont Ave., Chicago, Ill.\n\nPlease send additional information about:\n( ) Hyper Cinor Lens Attachment\n( ) New Wooddeg Tripod\n( ) Focusing Finder for Filmo 141\n( ) Focusing Alignment Gauge for Turret 8\n\nLenses for ( ) 8 mm. Filmos\n\nThe new Hyper Cinor lens attachment doubles the angle of the lens on which it is used, so that the area photographed is twice as wide and twice as high as usual. Also, it includes provision for focus.\nIt is a boon for 8 mm film users, particularly, as wide-angle lenses are not available for Filmo 8's. The attachment can be had for the T-H V2-inch Neu' Hyper Cinor Lens Attachment on the T-H Vi-inch F 2.5 universal focus F 2.5 lens used on Filmo 8\u2019s, and for the T-H lens of the Filmo 8 mm. Camera. One-inch F 2.7 and B&H Lumax 1-inch F 1.9 lenses for 16 mm Filmos are also available. The unit quickly screws on or off of the lens with a few turns. Prices upon request.\n\nNew Direct Focusing Finder for Filmo 141\nMagnifies Image Ten Times!\n\nGood news for Filmo 141 owners! This new Focusing Finder, which slips into the camera in place of the film magazine, permits both precise visual focusing and accurate framing of any subject, near or far.\nWith a two-inch lens, the image is upright and magnified ten times. Parallax errors are eliminated, making it valuable for extreme close-ups, small objects, titles, maps, and animated cartoon filming. Price: $20.\n\nNew 2-Inch Lenses and Matching Finder Unit for Filmo Turret 8\n\nThe two-inch lenses now available for the Filmo Turret 8 allow you to shoot distant scenes with four-diameter magnification, recording images sixteen times larger than with the regular 1// lens.\n\n2-Inch Finder Objective for New Focusing\n\nThis new Focusing Alignment Gauge permits using the Filmo Turret 8's critical focuser to its full extent for both focusing and framing from the position the lens will occupy when the scene is filmed.\n\nNew Focusing Alignment Gauge\n\nFor use, the gauge is mounted on your tripod and the Turret.\nThe Mitchell Studio Camera is equipped with a focusing mechanism. The critical focuser is aligned with the photographic aperture when the sliding block is at the left end of the track. This enables sharp focusing and accurate composition of titles or subjects, ensuring complete assurance during photography.\n\nPrice: $7.50\n\nThe Mitchell Studio Camera meets all studio requirements and is complete in every motion picture camera detail. It operates silently and is easy to use.\n\nMitchell Camera Corporation\n665 North Robertson Boulevard\nWest Hollywood, CA\nCable Address \"MITCAMCO\"\nPhone: Oxford 1051\n\nAgents:\n- Bell & Howell, Ltd., London, England\n- Claud C. Carter, Sydney, Australia\n- D. Nagase & Co., Ltd., Osaka, Japan\n- Motion Picture Camera Supply Co., New York City\n- FAZALBHOY, Ltd., Bombay, India\n- H. Nassibian, Cairo, Egypt\n\nAugust\nForeign (35c)\nPublished in Hollywood by American Society of Cinematographers\nProcess Shots\nHaskin-Edouart\nJohn Boyle on Trek to India\nDebrie Builds Reduction Printer\nMitchell\nFamily Afield Should Plan for Films\nSherlock\nIntroduction to Movie-making\nSprungman\nDesigning Simplified Sets\nOtterson\nImprove Your Titles\nBesbee\nConsolidated Installs 16mm. Department Fast Color Film Cuts\nLight a Half\nStull\nGerman Camera - shoots 80,000 a Second\nNo. 1 Documentary\nBlaisdell\nAlton Wins Honors in Argentine Film\nThe Lady and the Knight\nAn fine balance of photographic properties assures a beautiful screen result. Its roll after roll uniformity allows you to work with confidence. For your next schedule of production rely on Du Pont Superior Pan. The many good negatives made on it prove its superiority.\nDependability. Du Pont Film Manufacturing Corporation INCORPORATED 9 Rockefeller Plaza Smith & Aller, LTD. New York, N.Y. 6656 Santa Monica Blvd. Plant Parlin, N.J. Hollywood, California Better THANQS for Better Living through Chemistry 338 American Cinematographer \u2022 August, 1939 Precision-made by Bell & Howell City, State New Eyemo with compact turret and crank and spring drive More Versatile. A new flat base, 2Vi'' square, gives perfect seating on any flathead tripod. Provides steadier mounting; eliminates need for \"cradle\u201d or other accessory. Two dowel holes in base ensure perfect camera alignment on tripod head. New base in no way interferes with convenient hand operation. More Dependable. Every lens can now be locked in focus with a new positive lock-screw device. Also, a new locking mechanism for the lens focus.\nThe device for use with the offset turret ensures alignment and steadiness even with heavy lenses of long focal length. It is more compact. A new detachable cord is now supplied with electric-drive models, facilitating handling \u2013 no dangling cord. The new Eyemo is equipped with an external 400-foot magazine and offset turret.\n\nEyemo was compact. Eyemo was versatile. Eyemo was dependable. For these reasons, it has always been the first choice in portable cameras among newsreel cameramen, explorers, and other professional movie men. Now there is new justification for this overwhelming preference! Important new changes make Eyemo even more compact, more dependable, and more versatile.\n\nEyemo is instantly ready to master any emergency in the studio or the field. It can be equipped with a tripod, 400-foot magazines, electric drive (synchronous if desired), and other accessories.\nOther studio camera accessories. It can be quickly stripped to a light, compact, spring-driven hand camera. Eyemo has focusing and diaphragm controls visible through the viewfinder, standard S.M.P.E. sound aperture, vibrationless governor, and other features. Mail coupon for complete details.\n\nBell & Howell Company\n1848 Larchmont Ave., Chicago, Ill.\nPlease send complete details about the new improved Eyemos.\nName.\n\nAugust, 1939 \u2022 American Cinematographer 339\n\nAgfa Announces Two New Films\nA NEW EIGHTMM. A NEW SIXTEEN\nAGFA TWIN-EIGHT HYPERGAR\nREVERSIBLE\n\nA new high quality film for owners of Double 8 mm. Cameras\n\nAGFA TRIPLE S SUPERPAN\nREVERSIBLE.\nA new 16 mm. film of high speed and low cost for double-8mm. cine cameras is now available from Agfa: the Twin-Eight Hypan. This new film offers the following advantages:\n\n1. High speed for indoor and outdoor exposures, with emulsion speed equal to high-speed 16 mm. films.\n2. Extremely fine grain, necessary for high-quality 8mm. movies.\n3. Special emulsion designed to increase resolving power.\n4. Panchromatic color sensitivity and brilliant gradation, balanced for use in both daylight and Tungsten illumination.\n5. Wide latitude to minimize exposure errors.\n6. Anti-halo coating between emulsion and base to reduce halation effectively.\n\nFor clear and sparkling movies on the screen, try Agfa's new Twin-Eight Hypan Reversible film.\nFilm in your Double 8 mm. camera today. Available in 25 ft. rolls (providing 50 ft. of 8 mm. single width) at $2.25, including processing and return postage.\n\nFour times faster than Superpan Reversible and similar high-speed 16mm. films, this amazing new Agfa film greatly extends the subject range of every 16 mm. camera. Better yet, it\u2019s available at a price which makes it an exceptional value. Additional characteristics of importance include:\n\n1. Extreme speed achieved with no loss in other desirable characteristics.\n2. Remarkably fine grain.\n3. Brilliant gradation and balanced panchromatic color sensitivity.\n4. Wide latitude.\n5. Effective anti-halo underlayer used exclusively on Agfa reversible films.\n6. Ideal for all indoor shots and outdoor pictures in poor light or for slow motion filming.\n\nFor highest speed in 16 mm. motion picture.\n[Camera film, try Agfa's new Triple S Superpan. Reversal today. Available in 100 ft. rolls at only $6.00, 50 ft. rolls at only $3.25, including processing and return postage.\n\nMade by Agfa Ansco Corporation\nIn Binghamton, New York, USA\n\nAmerican Cinematographer\nA Technical and Educational Publication on Motion Picture Photography.\nPublished monthly by the American Society of Cinematographers, Inc.\n1782 North Orange Drive, Hollywood (Los Angeles), California\nTelephone Granite 2135\n\nJohn Arnold, President\nAl Giles, Secretary-Treasurer\n\nContents\n\nDocumentary No. 1 . 342 (By George Blaisdell) John Boyle on long motor trek overseas . 345 Hollywood Forum has busy fifth annual . 346 Debrie building rugged 16mm. reduction printer . 348 (By R. Fawn Mitchell) When family travels, plan carefully . 351 (By James A. Sherlock) German camera takes 80,000 shots a second . 352]\nFaster color film cuts light in half (William Stull, A.S.C.)\nSimplifying set design (Jack Otterson)\nTwo television centers, says Lubcke\nRCA designs turntable for reproduction of recording (358)\nProcess shots aided by triple projector (William Stull, A.S.C.)\nConsolidated installs 16mm. department\nJohn Alton, A.S.C., wins praise in Argentina\nHow to improve your titles (Bill Besbee)\nGrabbing night effects in daytime\nLet's make movies \u2014 in the rain\nPlan your movies as well as your vacation\nAnton F. Baumann Passes\nImagination enhances photographic values\nColumbia tells of camera by broadcast\n(No title)\n[Bette Davis and Errol Flynn are shown on a Warner Brothers set for the important picture of the year, \"The Lady and the Knight.\" Davis plays Queen Elizabeth, and Flynn is Lord Essex. Davis is seen in the center left, talking to Director Michael Curtiz. Polito, the director of photography, stands below Curtiz in front. To Polito's extreme left, facing him, is W. Howard Greene, a Technicolor specialist.\n\nTechnical Editor: Emery Huse, A.S.C.\nAdvisory Editorial Board: Victor Milner, A.S.C., James Van Trees, A.S.C., Fred W. Jackman, A.S.C., Farciot Edouart, A.S.C., Fred Gage, A.S.C., Dr. L.A. Jones, A.S.C., Dr. Herbert Meyer, A.S.C.\nCirculation Manager: L.F. Graham\nNew York Representative: S.R. Cowan, 19 East 47th St., New York.\nPhone: Plaza 3-0483.\nForeign Representative]\nAugust 1939, American Cinematographer 341\nDOCUMENTARY No. 1\nThis has been a great month for\nThe historical march in motion pictures. The March of Time came with \u201cThe Movies March On,\u201d tracing the rise and development of the picture industry across forty-plus years. On the screen, it ran for twenty minutes. It is an unusually interesting cross-section of what the film industry has done, but its magnitude is submerged in the much greater results secured by the industry itself in the making of \"Land of Liberty.\"\n\nIn this production, running two hours and fifteen minutes, fifty-four companies contributed negative from one hundred twenty-four subjects covering a period of twenty-five years. In this instance, the theme was not an industry but a nation, from its birth to the present day. Some of its more recent participants were shown in the flesh, but of course, the majority of men and women were portrayed by actors.\nPlayers. Of these 128, 128 are identified. Beginning at the end of 1938, the picture was assembled and edited by a crew headed by Cecil B. DeMille. Assisting him were Herbert L. Moulton, William H. Pine, and Francis S. Harmon. James T. Shotwell, a distinguished Columbia professor, served as consultant, making two trips to Hollywood when the work was started and when the final assembling and editing were done. The narration was written by Jeanie MacPherson and Jesse L. Lasky, Jr. The picture is in fourteen reels. Some conception of the labor connected with the welding of the material may be gathered from the fact that two million feet of film were examined. These figures do not include the vast amount of newsreel subjects that were put on the screen. Replacement value of the scenes in the production is set at fifty million dollars.\nThe number of persons in the cavalcade has been \"conservatively checked\" at thirty thousand. After looking at \"Land of Liberty,\" it is unlikely anyone with picture experience will doubt the approximate accuracy of the estimate.\n\nThe picture opens with President Roosevelt at a microphone. He refers to America as the Land of Liberty, where the oppressed of other lands get their second chance. Colonial scenes follow, in some of which Johnny Bull is not going to feel entirely pleased \u2014 but in which the asperities hardly could be softened in the interest of accuracy.\n\nThere are many thrills in \u201cLand of Liberty\u201d . . . not merely the ordinary thrills that accompany hazard of life or limb, but those that respond to the utterances of great words in most dramatic setting and also in what prove in later times to have been great days.\nOne of the outstanding sequences is the singing of Paul Robeson as soloist and leader of the Negro roustabouts in the river steamer scene from \"Showboat.\" The whole sequence is a triumph, as it must be to have stood out as it did among so many great events. It is a triumph, too, of recording and reproduction. There is much in the fourteen thousand feet to afford opportunity for study \u2013 on a subsequent showing, of course; hardly on the first \u2013 of the progress of picturemaking. It is a history, too, of technique. The earlier scenes of the subject demonstrate the presence of more primitive equipment, the progression of the camera, as it were, right up to the final achievements in color. The more expert may detect advances in lighting, set designing, make-up, and mechanical construction.\nIt is regrettable that the entire production has been printed under uniform conditions of modern laboratory equipment and positive stock. The picture reflects abundant credit on those involved in its selection and polishing, mechanically and literarily. However, the presentation suffers from the abomination of dual commentary.\n\nIt is an old maxim that to break illusion is unthinkable; it is not theatre. Carrying out the obsession of immaturity that the commentator must put hysteria and panic into his voice in order to put thrill into his listener, followed by the practice of employing alternating commentators striving one to outdo the other on news programs, rather than a single commentator with steady and unexcited but appealing tone, much of \u201cLand of Liberty\u201d was made.\nThe employment of two men, each speaking briefly, brings the auditor to realization that he is in a theatre and what he is gazing on and listening to is not real. The voice of the commentator should possess the subtle quality that rides in the ideal music of the scorer. The auditor should sense it and absorb it, but be unconscious of it. \"Land of Liberty\" deserved such treatment. However, there's no one person who sees both sides of the shield. This is the underlying principle of a performance.\nA publisher, when assigning a reviewer two tickets for a first night performance, prefers the restraint that comes with companionship. This subtle influence of the feminine viewpoint tempers the unwittingly hardboiled masculine perspective. Therefore, this writer presented a proof of these remarks to the woman who, for many years, had prepared his breakfast and patiently shared it with him. Born and raised in New York, her early admiration for the stage has never been entirely supplanted by the screen. \"I think you're wrong,\" she commented as the proof was returned. \"The illusion was complete for me. In the past twenty-five or thirty years, I have seen with you a great majority of the great pictures you have seen. I am sure none equal the one we are about to witness.\"\nI. Thrilled me like \"Land of Liberty.\" \"It thrilled me because for the first time in my life it gave me a fuller realization of what it means to be an American\u2014 it brought home to me as never before how precious a privilege and what a great honor it is. I am... an American!\" At the Newsreel Theatre in Hollywood this month, I was privileged to see Columbia\u2019s short, \"A Man Made Island,\" a story of the San Francisco Fair. It was photographed in color by Frank B. Good at the time of his sudden death in May, the secretary-treasurer of the A.S.C. Undoubtedly it was the last work done by Frank Good\u2014and it was well done. Hollywood was given an opportunity a month ago to look on \"The City,\" an American documentary film of four reels\u2014probably the most pretentious of them all.\nAny American documentary subject to date. It is being shown regularly at the World's Fair in New York. Seen there by Walter Wanger, and quite naturally, he laid plans to have a print brought to the West Coast and shown here.\n\nThe subject was from an outline by Pare Lorentz and a scenario by Henwar Rodakiewicz. It was photographed and directed by Ralph Steiner and Willard van Dyke, assisted by several others. Thirty-six locations are listed, and they range from New England and New York to Los Angeles and London and other points in England.\n\nThe production was made possible by a grant from the Carnegie Corporation of New York. The film being divided as follows: \"In the Beginning\" (New England); \"The Industrial City,\" \"Men Into Steel\" (the metropolis); \"The Endless City\" (the highway); and \"The Green City.\"\nThe theme was how to build a city and make it livable - to eliminate slums and bring living conditions to those who were slated for rough work. Much was shown of the work that has been done toward making the world a better place to live; enough was shown to remind of what has been suffered and is being suffered where slum clearances have not yet been effective. A couple of thoughts crowded to the top while we were looking on scenes of alternating squalor and parklike backgrounds, the old way and the new way: \"The City\" was made possible through the sponsorship of the Carnegie Foundation, provision for which was made by the late Andrew Carnegie, a most praiseworthy act. It will go far to remove the grudge that may have existed in many long memories over the occurrences that occurred.\npiled up at Homestead at the time of the tragedy in that town \u2014 at a period when slums were known and only known, and homes in milltowns with parklike backgrounds were undreamed of. There is another thought: Giving Hollywood first-class contact with a picture that is founded on fact and not on love interest, as love interest appeals to Hollywood. Could it be possible this may have been what was in Walter Wanger\u2019s mind? Nevertheless, Hollywood is going a distance in this same field, that of documentaries. But it is in the field of shorts, currently in a sort of eclipse, due to the double feature. When programs get back, if they do get back, on a basis of one feature and several shorts, then will arrive the day of the documentary on the theatrical screen. Dward Ellis in the leading part of RKO-Radio\u2019s \u201cCareer\u201d makes an appearance.\nThe mighty bid for audience favor. It resembles the same man's success in \"A Man to Remember,\" produced by the same company within the last year or so. Temptation is strong to declare the more recent of the two productions superior. There is no doubt in this reporter's mind that this is true in the present case, due to Ellis's more powerful drama in \"Career.\"\n\nThe story is a simple one of a small town in Iowa populated by ordinary people with no wealthy or self-exalted individuals. However, the story may not have been as simple as presented. It begins a generation before the formal opening, when a \"smart\" man of the village marries the woman sought by another, less smart but steady-going man.\nAnd she was an honest woman. Though the woman had died, she lived on in the homes of the two men. Openly in one, unmentioned but nevertheless poignantly present in the other. It is around this woman, of whom not even a photograph is shown, that the story rises to unusual heights. With the chill of stark melodrama alternating with scenes of deeply moving tragedy. The makers of the production had the courage to give it an unhappy ending, or at least minus a hundred percent happy ending, which is much nearer to life in its raw form than we usually find it on the screen. Janet Beecher portrays the character of the woman who accepts the man who was defeated a generation before. She is the mother whose son, in the end, is rejected by the daughter of the woman now dead. She is an accidental listener to the conversation between the father and the other man.\nThe rejection led to a talk in which the mother learned for the first time where she stood and had stood for a quarter century in the father's affections. This sequence will serve as a model for writing, direction, interpretation, and presentation on the screen.\n\nFrank Redman, A.S.C., photographed \"Young Mr. Lincoln.\" Bert Glennon, A.S.C., received photographic honors for June from The Hollywood Reporters poll for the second time within four months. The production was Twentieth Century-Fox's \"Young Mr. Lincoln.\" Its predecessor was Walter Wanger\u2019s \u201cStagecoach,\" which received the nod in March.\n\nThe photographic strength of the picture grips in the opening sequences. One is where Fonda, as the young Lincoln, walks with Ann Rutledge along the shores of a river. The walk is unhurried, giving the spectator an opportunity to fully appreciate the scene.\nThe scene's charm and beauty impress the reviewer, notifying the observer of extraordinary photography. Outstanding shots follow consistently, with an unusual one at the end. Four other awards were given: for best picture (to John Ford), best actor (Henry Fonda), best actress in a supporting role (Alice Brady), and special effects (Vernon L. Walker, A.S.C.). John L. Cass recorded, Phil Stong's novel was adapted by Bert Granet, and the screenplay was written by Dalton Trumbo. Leigh Jason directed.\n\nThe motion picture of today has been more than forty years in the making.\nIn \"The Movies March On\" (March of Time, Issue 12 of Volume 5), the inception and gradual development of what was initially not taken seriously are shown. Interests lies in this number for those who appreciate screen fare, increasing in degree according to the period in memory of the observer.\n\nThe historical review is made possible through the assistance of the Museum of Modern Art, whose home is at 11 West Fifty-third street, New York. This new institution was made possible through its founding in 1935 by the Rockefeller Foundation and the help since accorded its Film Library by the motion picture industry as a whole.\n\nIn the library's vaults are millions of feet of film, news reels and features ranging in length from the early single reelers to present day features.\nThe beginning may have been fifty feet or even less. This writer recalls in 1915 in San Francisco being shown an old-time ledger by a veteran exchange man in which any part of ten or a dozen subjects were included in a single reel. The number under discussion makes an early start. It begins with May Irwin and John C. Rice in \u201cThe Kiss\u201d of 1896. It was shown in vaudeville. There were no picture houses at that time. To say that it made a sensation is expressing a situation mildly. In New York, it was town talk, and in the comparatively few places that also saw the relatively hot number, it must have done the same. The germ of censorship was planted at that time. Much water went under the bridges in the following seven years, but the next picture was of the vintage of 1903, \u201cThe Great Train Robbery,\u201d by Edison.\nThe next jump was of nine years. It is of a film titled \"The New York Hat,\" featuring Mary Pickford and Lionel Barrymore, along with a hat, from the year 1912. This was followed by \"The Four Horsemen,\" showcasing Valentino, brilliantly photographed, with the film in excellent condition.\n\nThe films and players came in quick succession. Among them were William S. Hart, Charlie Chaplin, Ben Turpin, Marie Dressler, Mabel Normand, Lillian Gish, Theda Bara, Douglas Fairbanks, Greta Garbo, John Gilbert, Renee Adoree, Al Jolson in one of the first sound pictures, Will Rogers, and Paul Muni.\n\nThe editors have selected for \"The Big Parade\" a sequence that has always retained its downright melodramatic power.\n\n(Continued on Page 382)\nAugust, 1939 \u2022 American Cinematographer 343\nThe Society of Motion Pictures Engineers suggested an intriguing proposition by John G. Capstaff from the Kodak Research Laboratories. He proposed replacing the conventional black border around projection screens with an illuminated white border. This practice, Capstaff believed, would enhance the projected picture's tonal values. Currently, it's challenging to make low-key scenes and night effects appear convincing on the screen. The darkest shadow area reproduced on the screen, despite representing the maximum density obtainable in the positive print, is not perfectly opaque. Some light is transmitted, and in most theaters, the screen reflects additional light.\nIn contrast to the small amount of light from the lamps illuminating the auditorium, the almost perfect light-absorption of the black velvet border surrounding the screen causes the blackest shadow obtainable on the screen to appear grayish and relatively luminous. This would not be the case when an illuminated white border is used. The border should not be illuminated brightly in relation to the clear or highlight areas of the projected picture, but only to such an extent for a low-key scene from \u201cHound of the Baskervilles\u201d with a white border similar to that suggested by Capstaff. The illuminated border used in actual demonstration was somewhat grayer than this illustration appears. The border will appear slightly lighter than the darker shadows of a normal picture.\nIn practice, he states that a relative brightness of sixty to one is best for monochrome, and thirty to one for natural-color projection. This lighter border has the effect of apparently darkening the deepest tones of the projected picture, as they become the darkest area scanned by a person watching the screen.\n\nTo demonstrate this theory, Capstaff projected several reels of black-and-white and color film, including toned monochrome scenes, at the Chinese theatre in Hollywood. Reels from such productions as \"Hound of the Baskervilles,\" \"Ice Follies,\" \"Dodge City,\" and a Walt Disney cartoon were projected with a luminous screen border. In this case, the border was switched on and off several times in each reel to furnish a direct comparison of the effect of the dark and light screen borders.\nThe first impression of this new technique is like looking at a painting in a wide gilt frame. This viewer found himself subconsciously searching for the scroll-work design of an old-fashioned picture frame. However, this impression passed after a few minutes as both mind and eyes became accustomed to the novelty of the light border. Unfortunately, Capstaff was unable to present a complete production by this method, so those present could not determine more accurately whether or not the illuminated border distracted their attention from the following story continuity. Instead, brief excerpts from several productions were presented, and with the added necessity for switching the border illumination on and off several times during a reel or sequence.\nFor comparison purposes, this could not be judged with accuracy without being tested with an illuminated border. Border Unnoted\n\nIn response to questions on this point, Capstaff stated that in tests made at the Kodak laboratory in Rochester, and in the Eastman Theatre in the same city, where a complete program was presented with the illuminated border, the average viewer was so completely unconscious of the border that, when questioned, most of them would ask, \"What border?\"\n\nTechnicians, he said, after the first surprise at the reversal of conventional practice, generally expressed themselves favorably, increasingly so as they became more accustomed to the effect.\n\nActually, he said, a very narrow black border is interposed between the picture and the illuminated border, simply to \"clean up\" the projected aperture. This consists of a rectangular frame.\nThe black velvet border, apparently two or three inches wide for the 24-foot picture shown at the Chinese theatre, is imperceptible during projection. The Chinese theatre has an unusually large proscenium, and a screen somewhat larger than that used for the grandeur pictures of a few years ago was employed. The actual projected picture was over 24 feet wide; at least as large, if not actually larger, than the picture normally projected in this theatre. Yet the effect gained from the relatively broad, luminous border was that of a picture smaller than usual.\n\nBorder Matte as Slide:\n\nThe mechanics of the system are simple. The border is produced by projecting a stereopticon slide in which the center or picture area is matted out, while the edges remain clear. The matte area is of course matched to the area covered by the motion picture projection.\nThe projector is used to project an image onto a screen where no other light falls. The slide for the experiment was made using the stereopticon projector as a camera, photographing the rectangle of light projected onto the screen by one of the projectors, with no film in it. The resulting negative was then bound as a slide and provided the necessary matte for border projection. The intensity of the border could be controlled by raising or lowering the intensity of the stereopticon projection lamp. The narrow black border was easily applied by fastening the black velvet ribbon to the screen, utilizing the perforations in the sound screen, so no permanent change was made to the screen itself. In response to further questions, Capstaff stated that he had experimented.\nWith the use of colored illumination for the borders, for both monochrome and color. There was no advantage from using John W. Boyle, A.S.C., who was away on a long trek. He had sailed from New York on June 21 as a member of the Trans-Asia Inc. expedition, led by Lawrence C. Thaw, who, when not on exploration bent, was a stock broker in New York. In the company were also Mrs. Thaw and an M.I.T. man who would function as radio engineer and consultant in the many difficulties that may arise. There would be a crew of six men. Thaw was an experienced traveler. In fact, it was at the head of a large expedition in Africa that he and Boyle first met, the latter at the time being at the head of a camera crew for an English studio troupe making a picture in the Dark Continent. The unit consists of a trailer specially designed.\nGeneral Motors built it at a cost of $80,000. It is air-conditioned and has specially designed generators and lights. Two Chevrolet trucks are included. One mobile unit has a two-way short wave radio, enabling conversation up to a distance of eighty miles. There will also be a Buick sedan with a special trailer.\n\nThe itinerary includes New York to Paris, through France, Germany, Austria, Czecho-Slovakia, Romania, Turkey, Afghanistan, Persia, India, the Himalayas, and thence to Bombay. It was planned at the beginning of the trip to dispose of the equipment on arrival at Bombay and to fly to London from which point a steamer would be taken for New York.\n\nThe colored light borders monochrome pictures, and using it for colored pictures is a definite disadvantage due to changes in the color scheme of the projected images.\nScene might bring sudden and unexpected color conflicts between picture and border. White light, of relatively low intensity, had been found best. He also mentioned that the idea had found such acceptance with the photographic and color technicians at the Kodak Park laboratories that several had adopted it for use in review rooms and in home projection of 16mm and 8mm home movies and minicam slides. The demonstration given, he pointed out, was strictly a private exposition of his own ideas, and should not be interpreted as an official demonstration or recommendation by the Eastman Kodak Company or the Society of Motion Picture Engineers, but instead as an individual\u2019s experiment presented at a time when he could easily obtain the reactions of a group of the world\u2019s leading motion picture technicians.\n\nAccording to the itinerary, the party\nSeven or eight months for the trip. Many supplies will be carried from the start, while others will be picked up en route. It will be this way with film, of which a hundred thousand feet of Eastman has been tentatively set for exposure. Plux X, Background X, Super XX, and Zelcras bipack will already be planned for use.\n\nExposed film will be handled in New York and Hollywood. As it is ready for shipment, the black and white will be airmailed to New York and the color to Hollywood.\n\nCamera equipment will consist of two Mitchells designed for black and white and for bipack, an Akeley and two Eyemos. Of still cameras, there will be four Contax and two Graflex. There will be a half dozen light meters, divided between Weston and General Electric.\n\nRather, an extensive motion picture program has been outlined. Several concepts have been planned.\nThe text pertains to John Boyle's long motor trek overseas for commercial shorts and background shots. Companies involved include Standard Oil, Eastman Kodak, Union Carbide, Ethyl Corporation, and others. Members will be guests of prominent men in various countries. Mrs. Thaw's trek won't be a picnic; she'll handle scripts and story work.\n\nJohn Boyle on Long Motor Trek Overseas\nAugust, 1939 \u2022 American Cinematographer 345\n\nThe fifth annual educational conference of the Hollywood Motion Picture Forum was held July 14 and 15. It surpassed its predecessors in attendance and general interest.\n\nThe conference headquarters and registration.\nThe sessions were at the new Review Theatre, 1455 Gordon street, Hollywood, under the control of the Academy of Motion Picture Arts and Sciences. The three-day event included two nights. The top note was sounded on Saturday night at the Victor Hugo Cafe, Beverly Hills, during the annual dinner. Vincent P. Maher, deputy superintendent of Los Angeles schools, served as master of ceremonies. Vierling Kersey, superintendent of Los Angeles schools, spoke and added to the prestige he established at the parallel occasion a year ago. Other speakers included Don Gledhill, executive secretary of the Academy, and Marie Seton of England, an authority on documentary films.\n\nUnder the auspices of the Motion Picture Producers and Distributors, a Novel Pre-Conference took place on July 12 as a compliment to members.\nAt the Forum, there was a pre-conference studio-theatre program at Warner Brothers Hollywood theatre. Max Steiner demonstrated the scoring of motion pictures in a fashion never attempted before.\n\nAs an example, they threw the final sequence of Bette Davis in Warners\u2019 \"Dark Victory\" on the screen. It was shown without sound or music. Then the same scene was shown with sound but without music. Finally, it was put on the screen in the same fashion as in the theatre.\n\nThe same routine was then followed with \"Dodge City.\" The objective was to show the audience several things. One perhaps was to illustrate the bareness of the performance without the additions that have been made to the screen performances of the past ten years. Another was to demonstrate what the musicians faced when the picture was sometimes silent.\nWithout warning, the pictures were placed in their laps, and they were informed of the number of hours they would be allowed before the picture was to be handed back. Another method was to indicate how the musicians plodded until they identified the tempo of the subject. A striking example of this was the burning train in \"Dodge City\" and the demonstration of the musicians' achievements in \"fitting\" the music to the rapidly moving events.\n\nThe audience remained in its seats for over two hours and was entertained every minute. It was the first time such a demonstration had been given. It proved to be one of the highlights of the conference.\n\nApproximately thirty pictures were shown during the conference. Projections were held at the Academy Theatre in North Gordon street, at the auditorium of Electrical Research Productions.\nAmong the pictures shown were: \"How Motion Pictures Move and Talk,\" Filmosound Library; \"The Sea,\" Horace and Stacy Woodard; \"The Truck Farmer,\" ERPI Classroom Film; \"Marshland Mysteries,\" Robert Unseld, Bell & Howell Film, first release. Eastman Kodachrome process print.\n\nDiscussion Leader: Cline M. Koon, USC Instructor, Visual Education. Senior Film Specialist, U.S. Office of Education.\n\nAuditorium of Electrical Research Products, Inc., 6601 Romaine street, corner Seward, for measuring devices, illustrations of control techniques in sound recording, and screening of film to show most recent studio sound recording technique. Presentation by Clifford W. Smith, vice president, ERPI.\n\n\"Hunting Walrus,\" B & H Lecture.\nCommander MacMillan; \"Electrostatics,\" ERPI Classroom Film\nPaul Burnford, Strand Films, London; \"Statue Parade,\" English Documentary Film\n\"People of Mexico,\" ERPI Classroom Film\nEllis Yarnell for Southern California Edison Company; \"Modern Electric Brooding,\" first release Kodachrome sound print\nDr. V. C. Aranspeiger, ERPI Picture Consultants, New York, Discussion Leader\n\"Death Valley,\" Color-Sound Film by Jay Dresser\n\"Nine Days a Queen,\" Gaumont-British Production\n\"King George and Queen Elizabeth in the United States,\" Castle Film\n\"Cartoon-land Mysteries,\" how cartoons are made, Universal\nDr. Wm. J. Klopp, supervisor of secondary education, Long Beach city schools, Discussion Leader\nFilm Clinic\nSaturday, July 15 \u2014 \"Safeguarding Health at Nation's Gateway,\" Frith Films, Hollywood\n\"Agricultural Ants,\"\nStacy and Horace Woodard, Hollywood: \"Metal Crafts,\" ERPI Classroom Film. \"California Wild Flowers,\" Color, Hard Jones. \"Clocks and Time Pieces,\" Fred W. Orth.\n\nDiscussion Leader: Fred W. Orth, Instructor Visual Education, UCLA. \"Think!\" Junior High Production, Dr. Helen Clifford, Long Beach. \"Balinese Dancing\" (Oriental Journeys), Harriett Huntington. \"Congo Curiosities,\" Paul Hoefler, explorer-producer. \"Free to Roam,\" Paul Burnford, Strand Films, London. \"Mexico,\" Miss Marie Seton, editing of excerpts from Eisenstein Documentary.\n\nDiscussion Leader: Wm. F. Kruse, Director of Films Division, Bell & Howell Company, Chicago, Ill.\n\nExcerpts from \"The Great Commandment,\" Cathedral Films, Rev. James D. Friedrich. \"Colorful Latin America\" excerpt, Capt. G. Allan Hancock. (Narration by Granville Ashcraft, Research Associate, Allan Hancock Foundation)\nOne of the unexpected hits with two audiences was \"Adventures of Chico,\" a sound film running 60 minutes. It was produced and directed by Horace and Stacey Woodard. Another rare subject was Father Hubbard's aptly named \"Majesty of Alaska.\" Exposed on infra-red film, the photography was exceptional. The film brought out all the majesty of Alaska.\n\nU.S.C. (Courtesy of Wilson Leahy, Agfa Film): \"Majesty of Alaska\" (Infra-red cinematography), Father Hubbard.\nMarch of Time excerpts: \"International Munitions Ring\" and \"Ghost Town Saves Itself\" (Initial 16mm. release). Courtesy of Boyd Rakestraw, University of California, Extension Division, Department of Visual Education.\nDisney Color Cartoon: \"Pied Piper of Hamelin\" (16mm. print). Courtesy of Donald Reed, Ideal Pictures Corporation.\n\n\"Adventures of Chico\" (60-minute sound film, produced and directed by Horace and Stacey Woodard).\n\"Majesty of Alaska\" (Infra-red film photography bringing out the majesty of Alaska).\nThe sessions were called to order by President Bruce A. Findlay. They were closed by the newly elected executive, Fred W. Orth, instructor visual education, UCLA.\n\nAmerican Cinematographer \u2022 August, 1939\n\nAny Successful Cameraman\nHis Answer Is Bound To Be\n\nEastman Plus X\nPanchromatic Negative\n\nJ.E. Brulatour, Inc.\n- DISTRIBUTORS -\n\u2022 American Cinematographer\n\nDEBrie Building\nRugged 16mm. Reduction\n\nBy R. Fawn Mitchell\nManager, Andre Debrie Inc. of America.\n\nAs is well known, the use of 16mm film for industrial and educational purposes has increased with extreme rapidity, especially in the last few years. Today, there is hardly a large school, church or business meeting which does not have its 16mm movie show with more or less regularity.\n\nSome idea as to the extent of industrial use of 16mm can be gathered by the increasing number of concerns employing this film.\nIt is self-evident that the rapid growth in the use of such films imposes problems in the laboratory where such films are processed. In general, it is the accepted practice to photograph original subjects on 35mm film and print them by optical reduction onto 16mm. This gives a decided gain in quality and permits 35mm prints to be made in the regular manner if and when desired.\n\nAn additional factor to be considered by the laboratory is the growing extent to which regular theatrical productions are being printed by optical reduction onto 16mm for library purposes. Historical films, particularly selected excerpts thereof, have been found of great value in the educational field. It is obvious that such applications are going to increase even more in the future.\nBecause of the physical dimensions of the 35mm. and 16mm. apertures with respect to the overall dimensions of these respective films, it is possible to print 35mm. pictures by optical reduction only using a step type printer. One of several typical Debrie installations in this country.\n\nUp to now, the average speed of a step printer and particularly a step reduction printer has not usually been greater than 30 or 40 feet a minute (on the 35mm. side).\n\nThis, naturally, is considered too slow in comparison to the speed at which modern 35mm. printers normally operate. It can be seen, therefore, that unless some adequate means of increasing the effective printing output of the reduction printers used in laboratories is available, this speed limitation would prove a \"bottleneck\" in the ultimate setup.\n\nFor some time now, the internationally recognized solution to this problem has been the use of multiple printing heads in a single printer. This allows for a greater printing output while maintaining the necessary reduction ratio. Additionally, the development of high-speed step and repeat printers has further increased the efficiency of the reduction printing process. These advancements have become essential for laboratories seeking to keep up with the demands of modern film production.\nThe \"Etablissements Andre Debrie\" of Paris have given extended consideration to this problem, particularly as its worldwide affiliations brought it into touch with the growth of 16mm reduction printing in many scattered countries of the world. The company has designed and built a very rugged and precise reduction printer of outstanding qualifications. This printer is made so ruggedly that it has been found entirely satisfactory to operate it at a speed of 64 feet a minute (on the 35mm side).\n\nOutput Doubled\nIn addition to this, a recently improved achromatic beam splitter is incorporated in the design. This beam splitting optical unit is designed to produce two absolutely identical 16mm prints in one operation from a single 35mm negative, so that the effective output of the printer is doubled.\n\nConsidering that the printer is run continuously.\nThe printer operates much faster than any known equivalent apparatus, with an effective output of approximately 128 feet per minute, equivalent to 35mm. footage. This represents a significant gain when compared to the normal 30 or 40 feet per minute output of previous printers. Precautions have been taken to ensure no loss of quality with this increased output. One reason for the exceptional quality, despite the increased output, is the use of a combination gate releasing mechanism and pilot pins. The printer is typically equipped with pressure gates of both the 35mm. and 16mm. heads retracted during film movement; however, these gates close during the printing cycle to ensure all films are in place.\nThe Debrie printer has perfect contact with their respective aperture plates. For a nominal extra cost, the printer can be equipped with pilot pin registration on both 35mm. and 16mm. heads. It can be made adjustable. The Debrie pilot pin mechanism's unique feature is that it can be made adjustable. In other words, the 35mm. pilot mechanism can be made to move slightly up or down to compensate for any range of negative shrinkage normally encountered. The adjustable pilot pin feature and the newly developed achromatic beam contribute to the Debrie 35mm.-16mm. picture reduction printer. Figure 1 shows the Debrie 35mm. negative side with the lamphouse door opened to show the lamp. The lamphouse is equipped with a safety red glass mechanically interlocked with the handle, preventing any white light from escaping when the lamphouse is swinging around for threading. Part of optional equipment.\nThe contact unit for Debrie's automatic light change is indicated at the left. The splitting unit is gaining significant attention due to the possibilities of reducing color films to 16mm on an economical laboratory basis.\n\nTypically, the adjustable feature on the pilot is not suggested for the 16mm head because standardization of positive stock has made fixed pilots sufficient.\n\nNoteworthy features of this printer include the ease of removing 35mm and 16mm aperture plates and gates from the main housing for convenient access to the mechanism. Additionally, the entire top of the printer can be taken off to allow easy access to the optical unit if needed.\n\nA notable advantage of the new printer is the way the main driving motor is mounted in the inner workings.\nIn this base is mounted a little motor-driven blower with an integral air filter, which provides an adequate supply of air to cool the lamp-house and blow against the 35mm. aperture to remove any dust that might accumulate there.\n\nResistance type favored. While this printer can be equipped with a special automatic light change designed for making a large number of prints from one negative, the preference of most users, in this country at least, is toward the use of the conventional and familiar resistance type of light change board. These boards are operated from standard notches in the negative.\n\nIf necessary, the printers can be equipped with the contact boxes in a different position to take care of negative notches made for any other system.\n\nFigure 2. Debrie 35mm.-16mm. picture reduction printer showing machine.\nThis illustration shows a Debrie printer threaded with one 16mm strip. One or two 16mm positives can be printed at a time as required. The optional Debrie automatic light change unit is shown at the right, and the blower is removed from the base, and the cover is removed from the belt to demonstrate the method of drive from the motor in the base. These printers have already found application in several large laboratories in this country, and it is believed that the unusual features incorporated in the design, along with the combination of quality and production of their performance, make this printer one of the major pieces of equipment available to the modern 16mm laboratory.\n\nThe Debrie line, in general, is most comprehensive and includes over a dozen types of developing machines and more than twenty kinds of printers for any conceivable purpose. Of the special types:\nprinters the superimposed title, bi-pack and Dufaycolor printers are the better known.\nAugust 1939\nAmerican Cinematographer 349\nPROVED DEPENDABLE\nThe proving period for Eastman's new negative films has been left far behind. With their special emulsion qualities reinforced by typical Kodak dependability, Plus-X, Super-XX, and Background-X are firmly established as successors to other notable Eastman films for the motion picture industry. Eastman Kodak Company, Rochester, NY. (J. E. Brulatour, Inc., Distributors, Fort Lee, Chicago, Hollywood.)\n\nEastman\nPLCS-X MI>III-\\\\\nfor general studio use for all difficult shots\nBackground-X\nfor backgrounds and general exterior work\n\nPlan for Film\nWhen Family Travels\nBy James A. Sherlock\nSydney, Australia\nThe still camera caught a tense moment approaching.\nFamily films can be made intermittently.\nWith this type of film, it pays to go to the trouble of writing a little scenario or story for the particular phase of family life that is to be recorded. If the whole family goes into conference and discusses this matter, the cameraman can be sure of individual support from the various members. In fact, they can easily become as enthusiastic as the cameraman if they are consulted beforehand.\n\nFilming the new arrival is best started with a shot of a newspaper announcement of the birth, followed by mother and the infant in the hospital, a close-up of mother, one of the baby, then the baby being bathed and weighed.\n\nDo not use high-powered lights on the infant. The diffused light from a window or verandah and a reflector together with a roll of fast film will do.\nLet the cinematic camera capture a child's life candidly, with dirty hands and face, first rompers, first toy, but most importantly, birthdays. There is no need to include titles such as \"Johnny at One Year Old.\" Each birthday cake with lit candles will be sufficient. Photographing children is a job for one who enjoys them. Catch the child as it learns to walk, with its little halting steps filmed from a very low camera angle.\n\nIf the child is difficult to keep in one place, set up the camera in the shade and have a dish of water with a new bubble pipe and soap on set. When all is ready, and not until then, bring out the child. If it is too young to use the pipe, have an older child blow the bubbles.\nThis should be sufficient to hold the attention of any child for a few minutes. Take in a whole family Of course, Christmas is the best time to catch the child in a happy mood, but why not include the whole family in this film?\n\nCommence with the preparations for the festivity, then the stockings being hung up, a clock showing the time to be 5 o'clock, a close-up of milk bottles being placed on a doorstep, then the children with their toys. From this on, try to catch the atmosphere of the day as the family enjoys themselves.\n\nConclude the film with a child asleep in bed surrounded by a few toys. Fade out here. Again, use plenty of close-ups: little bare feet in the morning, the turkey (if any), Christmas pudding and soiled plates, all things that suggest the Christmas feeling.\n\nAmerican Cinematographer from time to time publishes short scenarios.\nMaking family films is easy and can showcase the family as a continuous story. After creating one, writing your own will be simple, but remember to consult the family first and gain their support.\n\nFor holiday films, shoot plenty of close-ups. Begin with close-ups of advertising folders from the holiday resort, bags being packed, and luggage being loaded onto the car, train, or boat.\n\nIf the means of transport is a car, film a few feet of the gas tank being filled at the service station, followed by a few feet of the car moving off, implying departure.\n\nIf it's a train or boat, expose a few feet of film as the bags are being handled on the station or wharf. If it's a train, capture the train leaving the station.\nShoot a yard of film as a similar train pulls out of your hometown. In the case of a boat, ensure you get the name of the boat in a close-up, then people boarding the boat, followed by a few feet of film of your friends waving as the boat leaves the wharf. When you get into the habit of photographing such things as road signs (finger posts), names of railway stations, names on post offices, the front page of local newspapers, etc., you will find it an easy matter to edit your film in a story sequence that will be interesting with the addition of only a few titles. Story value is just as important in an amateur film as it is in a professional short.\n\nUse your party when filming the scenic portion. Try to include some people in the foreground. If you are traveling with company, have them walk into the scene, stop and look at the point of interest.\nWhen August, 1939, in American Cinematographer 351, they photograph this object of interest. When editing this section, you cut the film where they stop, add the scene you took without them, and join it to the frame where your friends commence walking out of the picture. By this means, you can include many closeups of your traveling friends, street scenes, buildings, statuary, streams, bridges, etc., in such a manner that each scene will be interesting. Even a best friend will chafe at having to wait till a cameraman erects his tripod before taking a holiday shot. Under these conditions, the cameraman is advised to use any support he can find handy - the side of a tree, a post, a seat, a rail, the car, anything that is rigid will do. Do not wobble the camera while it is running or the background will be affected.\nIf your picture's ground is jumpy, resist the temptation to pan. Move the camera slowly and finish on the most interesting object, but avoid this technique when possible. Use a succession of shots taken with different lenses of the most interesting parts of the proposed panorama instead.\n\nPhotograph natives in a foreign country. Include a few shots of local people at work and play, as well as any strange vehicles. If people have gone out of their way to assist, leave them in a happy frame of mind so they will help the next photographer.\n\nMost architectural subjects appear cold and uninteresting unless a good camera position is found. A branch of a tree, a doorway, or arch can be used to frame the picture, thereby enhancing its appeal.\nAdding to its pictorial value; this may seem unnecessary to the beginner, but it increases the depth of the picture and makes for better picture composition. Long shots are not as important as close-ups where detail and texture are shown.\n\nTo increase the number of exposures taken, a rotating disc moving counterclockwise is arranged in front of the rotating lenses. This subdivides one exposure into 2, 4, and 8 narrow strips and thus permits the increase of the number of exposures taken to a maximum of approximately 80,000 per second.\n\nPictures taken by a combination of the stroboscope and an ultra-microscope were shown at the exhibit that illustrated its uses for scientific and technical work. It was reported among the pictures shown was the movement of warm air circulating in a heated room taken without the aid of smoke. This was done by means of the stroboscope and ultra-microscope.\nThe mirage effect caused by different temperature air strata. The discharge of electric sparks over insulators and photographs of bullets hitting suspended steel wires were shown. Pictures of flying bullets clearly depicted the air waves in front of the bullet and the movement of the severed wire, according to the report.\n\nA German all-electric slow-motion camera, capable of taking 80,000 pictures per second, has been developed by a large German electrical manufacturing concern, according to a report to the Department of Commerce from the office of the American commercial attache at Berlin.\n\nMotion pictures produced by the camera were recently exhibited in Berlin before a group of invited guests. Known technically as a \"stroboscope,\" the camera is designed primarily for technical and scientific research.\nThe new stroboscope takes many more exposures a second through the subdivision of each individual exposure. The basic principle of this stroboscope is a disc of rotating lenses that eliminates the shutter. Exposures are made only in the status of \"optical equilibrium.\"\n\nThe Movie Fax, House Organ for Hollywoodland Studios\nHollywoodland Studios, South Gate, Cal., specializing in various types of film for the amateur movie fan, announces a gratifying acceptance of its house organ. The first issue appeared in March of this year.\n\n\"We decided to produce a small house organ for the benefit of our mail customers,\" explained Ben Doty, owner of Hollywoodland Studios. \"We captured the interest of our customers in offering sizeable prizes for a permanent name of our organ.\"\nThe house organ, titled \"Movie Fax,\" suggests L. J. Hark of Charlestown, W. Va. It includes an informative front page with suggestions for making better amateur movies, a Questions and Answers section, What's New section, special offers of merchandise, and a monthly prize-winning scenario. Interest in our amateur scenario division is growing. The publication is sent free of cost to all our mail customers.\n\nB&H offers 100 exclusive copies of Monarch's Visit. A special 16mm film presentation of Britain's King and Queen's visit to America is made available to only 100 people worldwide by Bell & Howell. The three reels comprising this release contain the selected footage taken by ten cameramen at various stages of the journey. The films are mounted on three gilded reels contained in similarly gilded boxes.\nhumidor cans. These, in turn, are housed in a library container.\n\nAugust, 1939. American Cinematographer. A rugged bit of Australian shore.\n\nsr EFFECTS\nthough the medium,\n1 l\"'\"jrrti,\n'\"Hiiir \nCa#BoN  Sj \nOBi \nf\"*CISC0 \nREALISM\nin the STUDIO\n\nRealism, the ever present aim of the studio, requires that all colors be recorded on the film in hues and tone values corresponding to human vision. Carbon arc lighting gives this daylight realism to color photography. In monochrome, it combines added beauty with the fullest possible achievement of realistic effect.\n\nNational Carbon Company, Inc.\nAugust, 1939. American Cinematographer 353\n\nSHORT CUTS\nIN EDITING\n\nElaborate equipment for editing is good to possess \u2014 but by no means always necessary. One of the best methods of which we\u2019ve heard recently was described at a meeting of the Los Angeles Cinema Club. It requires:\n\n1. Splicing the film in the camera itself, using a small, portable splicing block.\n2. Making rough cuts on the camera, using a small, portable editing table.\n3. Making fine cuts on a flatbed editor, using a stylus.\n\nThis method saves time and money, and allows for more flexibility in the editing process. It also encourages the editor to think carefully about each shot before committing to a final cut.\nTo begin, you'll need some scratch paper, two pencils, a few dozen clothespins, and a bit of string. Stretch the string between any two supports that are handy, such as the backs of a couple of chairs. Place the clothespins where they will be handy.\n\nNext, project your film. As each scene goes through the projector, note down its description on a sheet of the scratch-paper and give it a number according to the order in which it was shot.\n\nNext, either at the same time or, if you prefer, at another running, renumber each of the scene notes in the order in which the scenes are to appear in the picture. This should be done with a pencil of a different color. We prefer red, but anything can be used as long as it is distinctively different from the first numbering.\n\nThen take the slips and arrange them along the string, clipped in place with the clothespins.\nYou can begin cutting the film in the order of the black pencil numbering. As you run it through the rewinds, break out each scene and attach it to the line in its proper place. When you finish this \"breakdown,\" you will have all your scenes strung on the line in their original order. However, this order isn't necessarily the order they are to appear in when the picture is completed.\n\nHere's where the red pencil lettering comes in. The next step is to rearrange the scenes, with their identifying slips and their supporting clips, in the order of the red numbers. Now you will have your scenes strung along the line in their correct order. All you have to do is splice them together.\n\nBut wait a minute \u2014 this scheme doesn't seem to take care of the titles you haven't yet committed to film, or those added scenes you will have to shoot.\n\nThe process involves arranging film scenes in their correct order using clips and numbering for identification. First, scenes are arranged in their original order using black pencil numbering. Then, the order is adjusted using red pencil numbering to reflect the order in which scenes will appear in the final film. However, this process does not account for titles or additional scenes that need to be filmed.\nFill in gaps in continuity. doesn't it? Film 16mm. film splicer demonstrating diagonal splice. Lugs fitting into perforation at proper angle. When you are doing the red pencil numbering, you can make similar note slips as to those titles and missing scenes. Thus when you get to the point of splicing you will know that wherever you find a clip, a paper and no film, something is missing from your picture.\n\nNote Necessary Scenes\n\nFor the first cut, you can simply splice a bit of blank film into these gaps, and when the missing parts are available, you can quickly insert them. But this still doesn't solve the problem of knowing exactly where each of these additions is to go and which gap is to be filled with which.\n\nAgain, \"Oh, yeah!\" is the answer. You can use two different types of blank film \u2014 one to indicate a missing scene.\nFor instance, those who have been making movies for any length of time have a good deal of the ground celluloid leader Eastman once used before the company standardized on its present white-coated leader. The ground celluloid can be used for titles, while the newer white is used for added scenes. Or you can use plain positive film leader for one, tinted base positive for the other. With a grease pencil or even an ordinary lead pencil, you can write the number on this leader. The numbers will enable you to see which bit of added footage is to go into the spot, while the type of leader will tell you at a glance whether it will be a title or a scene. There is the idea in its pristine simplicity. In this form, it involves a penny scratchpad and a dime's worth of clothespins.\nUse pins and a few five-and-ten-cent store pencils. You can use the string from the package to hold your scenes if you're really thrifty. The same idea can be dressed up if you want. For instance, you can permanently number the clips themselves to supply the black numbers, if you wish.\n\nUse a Big Carton. Then cement a bit of white celluloid (from old leader) on the clips to take the red-lettered numbers. The writing can be erased from this surface easily. By doing so, you can eliminate all slips but the ones indicating missing footage, if you're averse to so much writing.\n\nIf you're one of the more particular filmers, such as those who dislike having their film drag on the floor, you can add a cloth-lined bag or box to catch the film and protect it. A big cardboard carton, which almost any store will gladly provide.\nFor the lining, you can perhaps use an old sheet from your better half. Maybe even persuade her to snip and sew it into a bag for you. The mouth of this bag can be fastened to the carton with big safety pins, or if you want to be really stylish, fitted with a drawstring and tied in place. Since we are dressing things up, how about following the example of professional film editors and wearing a pair of light, white cotton gloves while you are cutting film? They won't restrict your freedom of motion, but they will eliminate fingerprints which have spoiled so many home movie scenes and splices.\n\n354 American Cinematographer \u2022 August, 1939\nFILM CUTS\nLIGHT A HALF\n\nFor the past six months, the camera profession has known that a new, far faster film was available for Technicolor cinematography, and has been used accordingly.\nThe new film brings comparable benefits to color cinematography as enjoyed by black and white since the introduction of Eastman Plus X and Agfa Supreme. Technicolor forces have been reluctant to discuss their new film until proven on actual production. They wisely took the position that no tests can tell as much about a film product and its use as the myriad problems of production. In theory, color cinematography stands to gain far more from faster negative materials than monochrome. Every color process has faced the disadvantage of comparatively low film speed due to the unavoidable heavy absorption of light by color filters and beam-splitting devices necessary to produce the required two, three, or more color-separation negatives. \"Wind\" First.\nLighting for natural color processes has traditionally required normally high illumination levels, often to such an extent that there was scant flexibility in lighting. Any advances in film speed could logically be expected to minimize these difficulties. With the new, faster Technicolor film, the question was how much did the increase in speed do this, and in what way was it being put to use?\n\nThe first production to employ the new film is the much-discussed \"Gone with the Wind,\" which entered production late in January. Today, as the production nears completion, hundreds of thousands of feet of the new type negative have been exposed on action covering a wide range of dramatic and photographic moods.\n\nBoth Ernest Haller and Ray Rennahan, codirectors of photography on the picture, are convinced\nThe new film extends the technical and artistic scope of the process to a sensational degree. A visit to the \"Gone with the Wind\" set confirms this opinion. To anyone familiar with the lighting technique necessary with the previous Technicolor emulsions, the change is amazing. Three things are immediately noticeable. First, the average light levels used are vastly lower. Second, smaller lighting units can now be used. Third, properly filtered incandescent lamps can now be used beside the more familiar arcs. In a word, the new film has to a great extent revolutionized Technicolor lighting methods. Director of Photography Rennahan, who has seen and participated in every Technicolor development since the making of the first Technicolor production seventeen years ago, confirms these observations. \"The new film,\" he says, \"is three times more sensitive to light.\"\nBy the side of this Technicolor camera are Ernie Haller, A.S.C., and Ray Rennahan, A.S.C. - the team that recorded \"Gone with the Wind\" for Selznick-International. Photographed by Stillman Fred Parrish.\n\nThis brings color lighting to levels practically identical to those used in monochrome before, with the use of X and other fast films.\n\n\"Gone with the Wind\" involves a great deal of dramatic effect lighting, so it is hardly fair to consider that our lighting averages apply equally to more routine pictures, where higher keyed, less dramatic lightings might be required.\n\n\"Fifty Percent Less Light\"\n\nBut I should estimate that for normal effects, we have been able to use a keylight of around 250 foot-candles.\nThis compares favorably with pre-Pius X monochrome lighting standards, which ranged between 200 and 300 foot-candles, according to the scene and cinematographer. With older, slower Technicolor film, our average would probably have been in the neighborhood of 500 or 600 foot-candles.\n\nIn other words, this new film enables us to reduce lighting levels by approximately 50 percent.\n\nThis means we use less light overall and can break lighting down into smaller, handier units, affording greater flexibility, especially in lighting people.\n\nAt the same time, we are now able to take advantage of another technical development of the past year \u2014 the decreased need for large amounts of light.\nDevelopment of filters which correct incandescent light to match the same daylight standard of our arcs. This was actually accomplished some little time ago, but the exposure requirements of the slower film prevented us from taking full advantage of it, since where light of high intensity is concerned, the arc is the most efficient light-source. The 'inkie' can be made in smaller, handier units than the arc, but the old film was too slow to utilize them.\n\nUse Smaller Lamps\nToday, we can and do use the familiar Fresnel-lensed inkie spotlights. More importantly, we can now use the smaller baby spots for precise lighting of faces in close-ups, exactly as they would be used in black and white. Only the speed of the new film makes it possible to make effective use of such small units in color photography.\n\nThe new film has naturally increased its sensitivity.\nThe scope of projected-background cinematography has greatly expanded. Previously, we were limited to relatively small background screens, except when using the big triple-head projectors. With the new, fast film, we can use screens as large as those generally employed in monochrome, and with equal flexibility.\n\nAnother important improvement brought by the new film is improved color rendition, particularly in the greens. Every color process has found green one of the hardest colors to reproduce faithfully, and it is an especial problem here in California, where the natural greens of foliage, grass, and the like seem to have a somewhat rusty shade unknown in moister climates, such as Ireland, where I made so much of \u2018Wings of the Morning.\u2019\n\nThe new film has given us some beautiful greens on exteriors, which will be an asset to the completed picture.\nThe improved color rendition has enabled us to make more extensive use of projected color in our lighting. We have gotten warm-toned effects for lamplight and firelight, colder tones for moonlight, and so on. For some of these, we have projected the colored light only on the set, while in others we have used it on the faces of the players as well.\n\nThe new film, with its finer-grained characteristics, also gives us considerably better definition. When this is combined with the constant improvements in print-definition the laboratory is always giving us, I predict that the final release prints of this picture will show really noticeable improvements in color-print quality.\n\nRennahan\u2019s associate, Ernest Haller, A.S.C., came to \u201cGone with the Wind\u201d fresh from his notable monochrome work.\nchrome achievements in \"Dark Victory,'' is equally enthusiastic over the advances of the new film. Years ago, he had worked with the old two-color Technicolor process, and he had also made some of the very first tests of the newer three-tone system. So he came to the current production not only fresh from notable successes in monochrome with Super X, but with an active memory of the earlier requirements of the color process.\n\n\"I was amazed,\" he says, \"to step into Technicolor production and find that instead of requiring immensely high light-levels, it now permitted me to light very much as I did for black and white on Super X.\n\nLess 'Filler Light'\nIn the old days, shadows were strictly taboo in Technicolor; you had to crowd in \u2018filler light\u2019 from every angle, to make sure that the shadows wouldn't vanish in inky blackness. Today, it's different \u2014\nYou don't notice much 'fill-in' light here, do you? We don't need it any more than in monochrome.\n\nThe shadow-speed of the film has been increased so that we can light much as we would for black and white, knowing that we will get, in color, the same shadow illumination we would under similar conditions in black and white.\n\nYou'll notice another thing that is different from any previous Technicolor production. Archie Stout Injured When Heavy Seas Tangle Towline\n\nVictim of an unusual accident while working with his crew aboard a tug off Santa Rosa Island, filming rough weather shots for Paramount's Frank Lloyd production, \"Rulers of the Sea,\" Archie Stout, A.S.C., has been under medical treatment for severe contusion of the left leg, just below the knee.\n\nThe mishap occurred while Stout was filming scenes of the Dog Star, an exact replica of the famous ship of the same name.\nThe first successful transatlantic paddle steamer reproduction, constructed by Lloyd for Douglas Fairbanks Jr., Margaret Lockwood, and Will Fyffe's nautical tale:\n\nThe tug, towing another craft, was thrown off course by heavy seas. The towline swept across the afterdeck with tremendous force, sweeping Stout from his feet and nearly carrying him overboard.\n\nUpon the cameraman's return to Hollywood, an X-ray examination disclosed no broken bones but found the contusion to be severe enough for Stout to be partially disabled for several weeks.\n\nWe can now make the same use of diffusion on our spotlighting units as in black and white. Up until now, the only lighting units on a Technicolor set that have used much diffusion have been the broad sides.\n\n\"The spotlights that did the modeling\"\nOn set and players were generally kept clear and undiffused. But now, with the fast film, we can soften our modeling light just about any way we wish. We can say nothing of using the softer beams of inkie spots, with or without diffusers, exactly as we choose. Any cinematographer can tell how that will improve the quality of the pictures we're putting on the screen!\n\nUsing smaller units is another photographic advantage. With the old, slow film, about the smallest unit we could use was a 65-ampere arc spotlight. Now we can light close-ups with filtered (and if necessary, diffused) 500-watt baby spots, just as we would in monochrome.\n\nWhenever an established feminine star makes her first appearance in a color film, the critics almost always exclaim at great length about the new personality color gives her.\nNow that we have this fast film, which enables a cinematographer to use all the little tricks of precision lighting he has used in monochrome to glamorize his stars, I am sure that color is going to be more flattering than ever to the women. In other words, I like color photography with this new film. The film and laboratory engineers have at last brought color to the point where, except for the slight inconvenience of the larger, three-color camera, one can work with the same freedom that is the accepted thing in black and white. At the same time, by adding color to whatever artistry his experience has made him capable of in monochrome, it will extend his artistic and dramatic expression far beyond the best he can do in monochrome. \"Gone with the Wind\" has not been an easy picture to photograph; it is physically a very big picture, covering a vast landscape and requiring a great deal of location work.\n\"exceptional dramatic range. Doing this in a way that will measure up not only to the high expectations of the public, but to Producer Selznick\u2019s even higher standards of perfection, has kept us all straining every effort. \"Yet color cinematography, especially with this new film, is such an expressive medium that I\u2019m sorry to see the end of our work coming in sight. I don\u2019t know what will be my next assignment when I return to my home studio \u2014 Warner Brothers \u2014 but I would certainly rejoice if it could be another color production. \"Now that color has become more flexible technically, its artistic possibilities are so great one wants to keep on exploring them!\"\n\n356 American Cinematographer \u2022 August, 1939\n\nProduction Value\nJack Otterson, supervising art director, Universal Studio\n\nA PHOTOGRAPH of a friend or relative\"\nA smiling expression in a portrait may be a characteristic feature and a technically good picture, but it is less pleasing in the long run than a simpler, non-smiling one. Placing a smiling portrait on the wall or desk where one sees it constantly will eventually find the perpetual smile irritating. We all have our \"blue Mondays.\" At such times, looking up to see a portrait smiling fixedly at us from its frame is enough to annoy us, even if it is our dearest friend.\n\nAn unsmiling pose, on the other hand, is always sympathetic. When we feel cheerful, we can imagine our friend on the verge of smiling with us. When we feel blue, we can imagine him sympathizing. The picture thus serves as a background for our friend.\nA vital element of set design should appeal to audience imagination, comparable to that of a serious-faced portrait. Within reasonable limits, the more any architectural style or motive can be simplified, the more effectively the set will serve as a sympathetic background for photographed action. Every architectural style or period can be reduced to certain basic and simple characteristics. In seeking that elusive quality of \u201cproduction value\u201d which does so much to enhance the effect of the final picture, simplicity of design is a powerful means of conveying the richness of fine taste. The value pattern of the paint used on the sets is a vital element in obtaining this result.\n\nJoseph Valentine, A.S.C., discussed in an article in The American Cinematographer how we had been simplifying designs earlier that year.\nAble to develop a standardized range of colors for set painting. Four pastel colors are used: buff, old-rose, blue-green, and blue-gray. We use each of these colors in four values, each ranging from a light to a medium-light, a medium-dark, and a dark.\n\nThe basic color in the mixing of these colors are Van Dyke brown. Umber is an unsatisfactory pigment as a base, particularly unsatisfactory photographically. It is an earth color, literally made from dirt, and colors darkened with umber inevitably give a muddy color on the screen.\n\nUse less light. In recent months, we have gone through further experimentation with these colors, and they have proven a tremendous asset. They may be photographed with a minimum amount of light.\n\nOf these four colors, the blue-green, which is a tone strictly on the green side, has proven to be the outstanding color.\nAt first thought, a set painted in only one color, though in varying values of that color, might seem monotonous both visually and photographically. We have not found this to be so. The effects that can be obtained with the use of varying values of one color are amazingly unlimited. A soft, delicate sensation may be obtained by a subtle use of close values. We may arrange a more sparkling, almost garish mood by the use of violent contrast of values. And this may further be enhanced by variations of surface textures including flat and glossy surfaces side by side.\n\nConstant Photographic Values\nThe values of these particular shades have little fluctuation in photographic reproduction. The cinematographer going on a set with full faith in the color background of the set is thus relieved of a definite problem.\nThese colors are equally adaptable to exterior sets. Valentine has recently photographed an exterior for Deanna Durbin's \"First Love,\" which is painted entirely in shades of our standard blue-green.\n\nColor is an optical sensation only determined in its relationship to surrounding color. These shades have an added asset. They are easily combined with one another in a harmonious pattern of color, and lend themselves most readily to the dressing of the set.\n\nWe achieve the most livable and lasting picture by the happy combination of simplification of form and color value.\n\nTwo Television Centers in This Country, Says Lubcke\n\nHarry R. Lubcke, director of television for the Don Lee Broadcasting System of Hollywood, on July 10 addressed the western members of the Society of Motion Picture Engineers on the \u201cPresent Status and Future Prospects of Television.\u201d\n\"New York City and Hollywood are indisputably the present television centers, and there is every indication they will remain so. New York City, due to its great concentration of population and business activity, and Hollywood, because of its world leadership in the entertainment industries, thus qualify for the leading positions. Entertainment is the last ingredient which must be put into the television picture. Television production is the most involved and difficult activity yet known to the entertainment field. It requires continuous production of high-quality entertainment. The usual output of a motion picture production unit is seldom more than a few minutes' running time on the theatre screen for an eight-hour day of activity.\"\nPickup and educational demonstrations will be important factors in supplying television program needs. According to this analysis, Thomas S. Lee, president of Don Lee Broadcasting System, recently purchased the most modern obtainable three-camera outside pickup equipment for station W6XAO. This will be delivered shortly.\n\nRCA Announces Turntable for Reproduction or Recording\n\nRCA has announced a portable two-speed turntable. This provides both recording and instantaneous playback of 16-inch records through any public address system when used with a recording attachment.\n\nSpecially designed for use with the new RCA Victor recording attachment, this deluxe precision-built instrument may be used for both high-quality recording and reproduction of records ranging from six to sixteen inches in diameter at either 78 rpm or 33 1/3 rpm.\nCompact and easily installed, it finds many applications in schools, hotels, churches, theatres, advertising agencies, broadcasting stations, and the many other institutions opening new markets in the recording and commercial sound fields. Backed by the company\u2019s forty years of experience in the fields of sound recording and reproduction, RCA Victor engineers have incorporated the latest advances in technical design and styling in the new turntable.\n\nPowered by a heavy, constant speed motor, the instrument is equipped with a balanced rim-driven turntable and an improved high quality magnetic pickup which reproduces either from the center of the record outward, or from the rim to the center. Equipped with simple plug-in connections for any public address system, it has master volume and continuously variable tone controls. The instrument is.\nHoused in a neat carrying case covered with tough fabric. Photography as a Hobby by Fred B. Barton. Member of News Photographers' Association, Portage Camera Club, Cleveland Photographic Society. Illustrations (pen and ink) by Don Wootton. Harper & Brothers, New York and London, 1939. Here is a book written by a man who loves his camera or cameras and who, right in the beginning, gets down to cases. He will not make for popularity in some quarters when he declares that thanks to the new fast films, emphasis is going to be less on the camera you own and more on how you use it.\n\n\"The thing to remember is that only about 15 percent of your success depends on your camera; the 85 percent depends on what\u2019s under your hat,\u201d he points out.\n\nThe writer talks down high-priced and many gadgeted cameras for those who:\n\n\"The thing to remember is that only about 15% of your success depends on your camera; the 85% depends on what\u2019s under your hat,\u201d he emphasizes. The writer criticizes high-priced and heavily-gadgeted cameras.\nWho have not had or will not have the time and means to study them. In fact, in an easy-flowing style, he writes interestingly and informatively about a large subject\u2014and in common sense fashion. There are eighteen chapters. Among these are talks devoted to the kind of camera that should be bought, to the necessity of seeing pictures, composition and the meaning of it; the matter of a darkroom, of candid camera and enlargements, color photography, better home movies, pictures by artificial light, photography for women, making money with your camera, tying your camera to other hobbies\u2014and your job, and holding down the cost. The book is one that deserves better than merely being read. It should be kept at hand\u2014for occasional reading and rereading.\n\nBritish motion-picture producers are greatly disturbed over the proposal by\nThe Chancellor of the Exchequer intends to increase the excise tax on motion picture film. Trade Commissioner C. E. Brookhart, London, has informed the Department of Commerce about this. News reel producing companies argue that if the proposed duty becomes effective, they cannot continue to operate. It is contended that the tax will result in the complete ruin of the news theater business.\n\nOne of Otterson\u2019s monochromatic sets for \u201cFirst Love.\u201d Painted in two shades of blue-gray, the color scheme is pleasing visually as well as photographically.\n\nAugust, 1939. 358 American Cinematographer.\n\n16 mm. CinS-Kodak Kodachrome Film, both regular and Type .4, is available in 100-foot rolls at $0.50; 50-foot magazines at $5; 50-foot rolls at $4.75. Kodachrome for 8 mm. cameras is available in 25-foot rolls.\nRolls of film, equivalent to 100 feet of 16 mm., cost $3.75, including processing.\n\nKodachrome: The magic of \"in Kodachrome\" goes beyond great photographic achievement. It's the ease with which you can capture the whole world in color for your home movies. Load your movie camera (8 mm. or 16 mm.) with Kodachrome Film and start shooting. Indoors or out, day or night, the world is colorful. At the seaside, in the mountains, at the Fairs, wherever you may go, there's color - color to see, color to picture in Kodachrome. Subtle color, vivid color - Kodachrome depicts it beautifully. Regular Kodachrome for daylight use, Type A Kodachrome for movie-making by artificial light.\nAugust 1939, American Cinematographer 359\nBy Ormal L. Sprangman\n\nThe same price applies to both films - projecting films at exhibitions (including World's Fair illuminations). The price includes Eastman processing and the return of the film, ready for projection.\n\nIntroduction\n\nIndividual images were outlined by hand. Then came the Eastman patent for using transparent celluloid for emulsion support. This innovation gave rise to various films with different characteristics. Some had single perforations in the center, while others ran along each side. One film carried three separate rows of pictures, each row being projected in succession by turning a knob mounted on the projector.\n\nIn 1923, Eastman announced its 16mm reversal acetate film. In the same year, the Victor and Cine-Kodak hand-cranked 16mm movie cameras were introduced. In 1924, Fell & Howell introduced their 16mm projector.\nIntroduced a spring-driven 16mm Filmo and a 200-watt projector to match. As time passed, improvements were made in shape and operation by experts striving for compactness. The f/6.3 lenses were replaced by f/3.5, and before long f/1.9, f/1.5, and f/1.4 lenses were no longer luxuries. Lens turrets and variable speeds were added, while the interchangeability of long focus and wide angle lenses gave the miniature camera a broadened field for extremely fast movie film emulsions in indoor photography.\n\nThis shot was taken at a Shrine Circus performance in Minneapolis\u2019 auditorium.\n\nLong before the days of the nickelodeon, bleary-eyed inventors were dabbling with the intricacies of home movies, experimenting with ways and means of making pictures move in life-like fashion.\n\nThe magic lantern, devised just three centuries ago, was all right in its way.\nIt tickled the fancy of the hoopskirt generation, and provided a respite from the parlor pastime of thumb-twiddling. But it still left much to be desired. In many of the larger cities, folks even paid good money to watch a soloist step out on the stage of the \u201cop\u2019ry\u201d house and chant a bit while colored slides flashed on the screen. It was well-nigh marvelous what this world was coming to. Then scientists discovered that most every average person had something which nobody thought he had \u2014 persistence of vision. It bridged the gap between slides and movies. The human eye, they found, was not only able to record an image but to retain it for a split second before another image moved in and took its place.\n\nKnowledge of Movement\nBecause of this optical illusion, one is led to believe that he really sees pictures in motion when projected.\nA screen displays a rapid series of still pictures when showing a film, be it 8mm. or 16mm. For instance, consider a close-up of a hiker's boots moving down the road. If the hiker strolls leisurely, numerous movie frames may be exposed during the process of lifting one boot and planting it down again. However, if the hiker trots, fewer frames will record the more rapid action. When the action is fast, the scene recorded in each frame changes quickly, and some frames may even appear blurred. Conversely, when the pace is slow, each succeeding frame increasingly resembles its preceding one, and where no action occurs whatsoever, each frame is identical in appearance. It is this understanding of movement that is crucial.\nFinally, Disney gave birth to such animated characters as Mickey Mouse, Donald Duck, and Snow White and her midget crew. Yet even Disney can't be too high-hat, as they were fooling with animation more than 100 years ago. One fellow pasted a series of hand drawings on a disc and revolved it behind another disc punctured with apertures, through which spectators gazed while the discs were spun. Later, action was photographed on a glass disc, and a device was produced which permitted the screening of short lengths of transparent film. George Culbertson, member of the Minneapolis early dual turntable unit, built for synchrom loud speaker nests in the bottom of the portable unit, a compact movie camera with all the prestige and versatility of the professional outfit. (American Cinematographer, August 1939)\nKodacolor movies were unique, but Kodachrome lent the final artistic touch. Now with sound on color film, an unbelievable reality, it seems that the only remaining improvements are third dimension and the power of smell. Fifty choices. Approximately 50 sub-standard movie camera models exist on the market today, produced by more than a dozen independent manufacturers. Prices range from around $10 for an inexpensive \"eight\" up to nearly $500 for a deluxe 16mm. camera, precision-built and professional in operation. Despite the relatively high price level of the better cameras, moviemaking is by no means a rich man's hobby. It's one pastime where store clerks and elevator operators can rub elbows with bank presidents and big business men.\nA wealthy fellow usually invests in the best equipment and accumulates all the accessories, while the poor devil buys what he can afford. If the camera is kept in readiness at all times, such intimate views as a grouse crossing a backwoods road in northern Minnesota are possible. The club and 8mm enthusiast is shown with a grin and music to his films. The case is removable when not in use. Culbertson is now working on a larger and doubly efficient size. The odds are still in his favor that he'll produce the best pictures. Merely owning costly equipment is no guarantee of topnotch movies. Nor do years of increasing experience always ensure increasing quality. You probably know of amateurs new to the game who have studied its complexities with diligence and who are far ahead of the fellow who has been shooting for years.\nIf you're seriously interested in amateur movies and plan to get a camera, you may be apprehensive about handling its complex workings. You're worried about dealing with focal lengths, shutter speeds, film emulsions, and other technical aspects. However, fear not. If you can operate a still camera, you can shoot movies. While the quality may not be excellent initially, following the instruction manual will ensure projectionable results.\n\nRecent advancements in black and white film processing in laboratories have enabled the correction of exposure errors, even for beginners. Your first film might be kept as a cherished memento.\nAnything you remember about snapshooting will be helpful in your movie work. All that you know about composition, exposure, outdoor or indoor lighting, film speeds, and camera angles will be distinctly advantageous as soon as you thread your initial roll. Pay a little attention to scene length, camera speed, continuity planning, and proper editing and titling, and that's as complex as your movie problems will ever get.\n\nIf all scenes required the same amount of footage\u2014that is, remained on the screen for the same length of time\u2014your finished reel would be pretty monotonous. You will learn by experience and by careful observance of topnotch work when to cut and when not to cut.\n\nMost shooting will be done at normal speed\u201416 frames a second.\nThere may be times when you may wish to use only 8 frames, if your camera is so equipped, to obtain super-fast, exaggerated action, or 32 to 64 frames to secure slow motion for studying otherwise rapid movements. Camera handling is quite important, and one of the earmarks of the beginner is to shoot jittery footage without a tripod or other firm support. Another earmark is his uncanny ability to pan the camera. He sprays the landscape like a garden hose. He pans up buildings and down streets. He pans from right to left and back to right again. Unfortunately, the stuff is eye-straining and unmovielike. Sooner or later, he learns to shoot steady pictures, panning only to follow moving objects or swing from one object of interest to another, and then very slowly. (August, 1939 \u2013 American Cinematographer 361)\nPanoraming can be minimized by taking different angle shots of the same subject and swinging in from long shots to medium shots and closeups. There are many tricks to be learned in amateur moviemaking. Don't expect to learn them in your first year. Perhaps that is what gives the movie hobby its zest and universal appeal, as amateur cinematography, unlike other hobbies, has followers of many colors, races, and creeds living in Europe, Asia, Australia, Africa, and the Americas. Outsiders are usually amazed at the versatility of the modern amateur movie camera. Business has found a spot for it. Sixteen millimeter industrial films, with or without sound, are being made and screened, showing distinctive sales methods, manufacturing processes, and for recording the progress of plants or analyzing mass production.\nProfessional men are partial to compact cameras for both photographing hobbies and filming work. In various industries, such as feed mills, pickle plants, and oil dispensaries, these cameras fit perfectly. Medical men have recorded complete histories of unusual cases on celluloid, and some doctors have even set up remotely controlled cameras and lights over operating tables to shoot as they work. Dentists have also discovered the usefulness of sub-standard films in monochrome or color. For instance, a close-up cinematic production on Immediate Denture Service is twice as effective as charts, slides, or lengthy discussions at dental conclaves. Films showing dental procedures are also helpful, with a cinematic titler useful for enlarging portions of maps and labels.\nFilming extreme close-ups and titles are right for pets, and close-up views are most essential. Mouth health and teeth care have already proven their educational importance among adults as well as children. Community chest drives, welfare groups, orphan homes, and settlement houses rely on amateur movies as effective propaganda for outlining their shortcomings and needs, and for soliciting funds for future operations. Opportunities for turning his hobby into worthwhile profits, as well as fun, await the amateur movie maker who can produce and shoot worthwhile footage. Due to the less expensive and more convenient small film widths, it has been possible to provide teaching films for classroom use in far greater quantity than if the more costly 35mm film were used. Reduction prints of theatrical films have even made this possible.\nMany Hollywood stars, known in every home, have used their voices and personalities in courtrooms where movies have been admitted as evidence. Screenings of these films have influenced juries, with accident victims exaggerating injuries and demanding exorbitant sums put in check at public trials through the showing of movies taken secretly, revealing the use of supposedly injured limbs or the true physical status of allegedly incapacitated persons. Documentaries and historical movies in 8mm. or 16mm. have emerged from even the smallest communities, where public-spirited citizens have chronicled the progress of their hamlets, along with pageants and public meetings. Pastors, who once scorned movies as if Satan himself were the cameraman, now utilize minicams to preserve and memorialize the story of their congregations.\nThe origin and growth of their congregations. In fact, special reels have been prepared to gain public support towards offsetting church indebtedness or aiding building programs through individual pledges. So successful are amateur movies in influencing individual habits that the railroad, steamship and travel companies have discovered that well-filmed travelogs by staff photographers provide excellent advertising. Whatever your experience or knowledge, your personality will doubtless enter into your filming. If you're an Indian relic collector, you'll probably specialize in Redskin filming. If you like hunting or fishing, your footage will center mainly around the outdoor life. If you have strong artistic tastes, your reels will probably record only the beautiful. This is as it should be, for moviemaking without a purpose is aimless.\nIf you enjoy filming birds, for instance, make a study of their habits and personalities. Specialize in this area, and you will gain a reputation for your work. Fellow moviemakers will seek your advice. If your companion hobby is horticulture, flower filming will likely capture your interest.\n\nWidely differing production problems during the past year have led two of Hollywood's leading directors of special process photography, working independently of each other, to develop fundamentally similar equipment. In each case, increased screen brightness was the key to addressing the issue at hand.\n\nAt Warner Brothers' Studio, William Wyler used a Tri-Electro-Matic process, while Victor Fleming employed a three-strip Technicolor process. Despite their different approaches, both directors recognized the need for brighter screens to overcome the challenges they faced.\n\nWilliam Wyler's Tri-Electro-Matic process involved the use of a special filter that increased the brightness of the image. This allowed for better color rendition and improved the overall look of the footage. Victor Fleming's three-strip Technicolor process, on the other hand, utilized three separate films for each primary color \u2013 red, green, and blue. The combination of these three films produced a more vibrant and lifelike image.\n\nBoth directors' innovations in screen brightness have paved the way for significant advancements in the scope of the projected background or transparency process. Their groundbreaking work has set new standards for special process photography and continues to influence the industry today.\nByron Haskin, A.S.C., required higher screen illumination to give color \"process shots\" the same physical scope and flexibility that monochrome projection process cinematography had provided. At Paramount, Farciot Edouart, A.S.C., needed greater screen brilliance not only for color transparencies but to cope with the requirements of making monochrome transparency scenes on extremely large screens. He therefore determined upon a logical expansion of the principles that had evolved his dual-screen camera and projection system, which had received an Academy Award. Both reasoned that, with existing light sources and lenses, the maximum in light delivery had been reached. More efficient projection lamps and faster lenses could undoubtedly be developed (such developments are even now nearing completion), but such research would be an expensive endeavor.\nAnd it is a time-consuming process. With productions which would make demands greater than could be met by existing equipment slated for immediate shooting, a method had to be found to obtain higher screen brightness from existing light sources.\n\nCompounding Illumination\n\nUnder these circumstances, the solution was found in compounding light sources and projectors. If one projector does not provide enough light, two or more, with their images superimposed on the screen, should do so. Synchronizing the several projection movements would present no more of a problem than synchronizing a single projector and a camera. The parallax caused by the physical separation of the projecting lenses and the consequent displacement of the images they project would, however, be a difficulty.\n\nSince two or three separate projectors could not be placed sufficiently close.\nThe several projection heads needed to be engineered into a single unit to avoid trouble while remaining accessible for operation. Both the Paramount and Warner Brothers\u2019 designs consist of three standard process projection heads mounted on a common base. This base positions the three heads in a T-formation. The center head, mounted on the upright of the T, projects directly onto the screen. The two outboard heads, mounted on the two arms of the T, face each other with their optical axes at right angles to that of the center projector. Their beams are reflected to the screen by front-surface mirrors.\n\nParallax Compensation:\nIn the Paramount machine, the lamp-houses are mounted on an optically centered base. This base is adjusted to compensate for parallax, ensuring that the images from each of the three heads align perfectly on the screen.\nThe base integrates with that of the projection movements. In the Warner installation, the lamphouse and head bases are separate units and operated separately. As might be expected when two designers independently follow similar courses, the two designs differ considerably in detail. This is particularly noticeable in the methods of focusing and of compensating for parallax.\n\nIn the Warner design, focusing is done by an adjustment that racks the projection movement forward or back in relation to a rigidly positioned lens. In the Paramount design, all lenses, fitted with synchromotor remote control focusing, are mounted in substantially conventional positions, with the reflecting mirrors in front of the outboard lenses, providing enough space between their inner edges to allow the center lens to project its beam between them.\nEach of the three lenses in the Warner and Paramount designs can be focused independently from the camera position. Parallax compensation is achieved through lateral adjustments of the outboard projection heads, similar to the adjustable back of a still camera, but with greater precision. In the Warner design, parallax compensation is obtained by precise adjustments of the outboard lenses, much like the rising and laterally sliding frontboard of a still camera, with either lens able to be adjusted individually. The mirrors have precision micrometer adjustments for rotation and tilt to exactly and perfectly superimpose the three images into one. Both equipments provide a means of tilting the whole unit up or down to place the picture at any desired height.\nThe axis of this tilting rotation in the Warner machine coincides with the optical axis of the two outer projection heads. In the Paramount design, all three lenses, movements, and lamphouses are mounted in perfect alignment on a single base. Therefore, the entire triple projector may be rotated or tilted as a unit. This is done by rotating it about a precision ball and socket joint in the base, and does not affect the alignment or registration of any of the three images or their light sources with respect to each other. All three images remain in perfect register regardless of pan or tilt. With three film movements and lamp-houses, there is inevitably a definite increase in the noise of operation compared to a single projector. Therefore, in each case, these triple head units are housed in soundproof booths about the size of a small theatre's.\nThe Paramount triplex projector is a completely portable installation. The entire four-ton booth is mounted on a hoist, allowing for quick adjustment to any desired lens center height up to eighteen feet above the stage floor. When higher elevations are needed, the booth is placed on special steel parallels. It can be moved about the studio with the same freedom as any portable single projector. The Warner installation is currently located at August, 1939.\n\nThe Paramount triple-head projector:\nTop - front view; note how the entire base may be panned or tilted as a unit about the pedestal.\nCenter - closer view of triplex mechanism; note synchro motors for remote control focusing from camera position, visible beside the two outboard heads.\nBottom - rear view of Paramount machine; note locking tie rods for rigidity.\nThe lock mechanism secures any pan or tilt position, ensuring the right hand projection movement is for left hand threading to save booth space. It is of the fixed type, but plans exist to adapt it for portable use. The installation at Warner Brothers evolved from the process shot requirements of natural color cinematography. During the planning of \"Gold Is Where You Find It,\" it became clear that certain scenes could not be efficiently photographed without the use of the projected background process on a scale impossible in color with any existing single projection units. The light absorption of even a light color print significantly reduces screen brightness, while the heavy filter absorption of the three-color camera, combined with the relatively slower film in use, would put significant strain on the system.\nFurther restrictions on practical screen sizes. With a single projector, a picture ten or twelve feet wide was the apparent maximum possible in color. With the triple head projector and the old, slower Technicolor film, it became possible to use background screens fifteen to eighteen feet wide for color process-shots. With the new and faster emulsions recently introduced by Technicolor, further advances seem possible, though as yet no significant production process work has been done in color on extremely large screens. Tests at Warners indicate that the combination of the faster color film and the triple-head projector will permit the making of natural-color projection shots on screens as large as those used in monochrome before the acceptance of today\u2019s ultra-fast black and white films \u2014 in other words, the use of screens up to the size previously used for monochrome before the acceptance of today\u2019s fast black and white films.\nHaskin commented that the width of a scene for color correction in projection depends on its nature. He noted the importance of using color-corrected projection lenses. Their first color projection experiments were made with uncorrected lenses, which caused definition problems even with a single projector. With the triple-head machine, three uncorrected lenses added to the issue. (American Cinematographer, August 1939)\n\nThe Warner Brothers' triplex: top, front view; center, closer view of the three heads; what appear to be the mounts of the two outboard lenses are not included in the given text.\nTheir reflections appeared in the first surface mirrors. Bottom, rear view of the machine, showing independent mount and tilting mechanism of the center lamp-house. Aberrations combined, it became almost impossible. As soon as we installed lenses that were properly color-corrected, the trouble vanished. We got better definition than we had hoped would be possible.\n\nBut when you stop to think that our color productions are being shown to the audiences of a majority of the world's theatres through uncorrected lenses, you certainly wonder that color has been so successful, in spite of such a handicap.\n\nWith the increasing trend toward color, it seems a foregone conclusion that ultimately even the smaller theatres will find it necessary to re-equip themselves with modern, color-corrected projection lenses.\n\nIt may be interesting to mention that\nWe have found a way to put color to work in simplifying the otherwise difficult problem of lining up our three images for perfect registration. It is easy enough to get a rough adjustment by ordinary methods; but getting the final, almost microscopic superimposition of the three images that will literally blend them into one perfect image, is a very different matter.\n\nAdditive Color Focusing\n\nSo we use additive color projection. Three images of a simple chart are projected, each in its proper additive color. When we see, for example, a red fringe around the design, we know that the outboard head projecting the red image is out of register, and the side on which the fringe appears indicates in which direction it is out of register.\n\nThe same is true about the other projector if we see a blue fringe. When our chart appears as a pure black and white design, all images are perfectly registered.\nWe know immediately that all three images are in perfect register. In this way, we can get our equipment lined up much faster and easier than would be possible any other way.\n\nIn this connection, we\u2019ve found that the design of our unit, in which the three lenses are rigidly mounted, saves trouble when it is necessary to change lenses between takes \u2014 as for instance, when going from a long-shot to a close-up of the same scene and using the same background plate. The projector is already correctly aligned. The lenses are, of course, matched sets in standardized mounts.\n\nAll that is necessary is to open the clamplike mount, slip out the old lenses and slip the new ones into place. When the mount is fastened shut, they are held rigidly in position in the same alignment as were the sets previously used.\n\nAugust, 1939 \u2022 American Cinematographer 365\nIt has been our experience that the use of the triple-head background projector has advanced color production parity with black and white more than any other single factor. In monochrome, we are so accustomed to the use of large-scale projected background process shots as a means of saving time, effort, and money that we take it for granted. Many of us only notice it negatively \u2013 as when, as was so long the case in color, technical considerations make it impossible to apply the process on the same sweeping scale. Then, the creative workers in the studio find their efforts hampered, while executives find costs mounting past the danger point. The combination of the triple-head projector and the new, faster color film has made this possible.\nshould remove the last of these restrictions from color, and insofar as special process cinematography is concerned, enable us to make color pictures with the same facility and efficiency we do black and white.\n\nMonochrome Achievements\n\nThe Paramount triple-head projector, developed with an eye to solving the color problems in films such as \"Men with Wings,\" is best known for the spectacular achievements it made possible in extreme large scale monochrome transparency process work. It received its baptism in the production of \"Spawn of the North.\" For this, an enormous completely enclosed tank-stage, several acres in area, was built. Its dimensions were sufficient to permit as many as three full-sized fifty-foot fishing boats to be maneuvered, with in addition any necessary icebergs in the foreground. The background was a projector.\nThe transparency, of an appropriate size, offers unprecedented levels of clarity never thought possible. The initial experiments were conducted with a twenty-four-foot screen, which proved inadequate. Therefore, the world's largest process screen was built: it measures thirty-six feet in width by twenty-seven feet high. The triple-head projector, in combination with the use of modern, high-speed negative film in the composite camera, enabled the successful use of the process on this impressive scale.\n\nThe tremendous increase in screen brightness yielded by this projector, as Edouart notes, can be utilized in several ways. \"A conservative figure for this increase,\" he states, \"is an average of not less than 280% more light than is possible with any existing single projection equipment.\"\n\n\"On one hand, this means that a much larger audience can be accommodated in a single screening. On the other hand, it permits the use of smaller venues, since less light is required to produce a bright image. Furthermore, it allows for multiple images to be projected simultaneously, creating a more dynamic and visually engaging experience for the audience.\"\nA larger screen area can be used, either in monochrome, as was the case in 'Spawn of the North,' or in color, as was the case in 'Men with Wings.' For some scenes, we maneuvered a complete full-sized airplane in front of the transparency screen. In the latter connection, it must be pointed out that at present, the transparency cinematographer is seriously handicapped by the fact that all existing color cameras are fitted with the Academy Standard sound picture aperture rather than with the larger, full frame silent picture aperture.\n\nThis means that almost one third of the frame area \u2013 29.1% exactly \u2013 is wasted, and with it, a corresponding percentage of screen illumination. Under present conditions, that cannot be helped.\n\nHowever, in addition, the triple projector's increased screen brightness can be utilized.\nTurned to advantage in other directions, giving further essential benefits in flexibility and cumulative quality. Better Gradation. With this increased illumination, when such extreme screen sizes need not be sought, darker prints may be used. This gives a better gradational scale and better quality both on the process screen and in the final composite print. In the same way, it becomes possible in many shots to reduce the amperage of the individual projection light sources, thereby subjecting the background plates to less heat and giving them a proportionately longer useful life. Duncan MacD. Little Invited to Quebec to Stage Film Show. As we are going to press this month, Duncan MacD. Little of New York is in Quebec on the invitation of Louis Coderre, deputy minister of commerce and industry of the province. He is there attending a conference and picture presentation.\nMr. Little will appear at the latter part of the show, taking on a dual role. He will be the speaker of the occasion and the sponsor for the films shown, which include \"Making of Canadian Homespun,\" \"Here and There in Habitant Land,\" and \"The City on the Rock.\" It was an honor Mr. Little hardly could refuse: a foreigner being invited to attend a conference in a strange land and show his own pictures of that land. The same program will be repeated at a gathering sponsored by the local chapter of the Imperial Order of Daughters of the Empire. One of those in Little's party will be Tom Andrews, handling the musical part of the entertainment.\n\nOn July 29 and 30 will be the sixth annual canoe race. The fourth annual summer show, under the auspices of the organizing committee, will be staged on the 28th preceding the race.\nThe pieces of the Societe du Flambeau of Trois-Rivieres. Last fall, Mr. Little began a film on logging, intending to secure the winter scenes in the coming months. Instead, three months of Grand Jury service intervened, delaying the snow scenes for the coming winter. The film is now three-quarters complete.\n\n\"The increased screen brightness can also be turned to great advantage by making it possible to stop down the lens of the composite camera, thereby getting a much-needed increase in depth of field.\n\n\"With today's steadily increasing use of really large scale transparency shots, this is a vital factor. Some of the transparency sequences for \u2018Geronimo,\u2019 for instance, were on such a large scale that the whole of one of the studio's largest stages was occupied by the set and projection setup. The composite camera and the projector were separated by as\"\nMuch as the camera was 196 feet away from the screen, with it 75 feet distant. Yet, in some scenes, the actor nearest the camera might be only 18 feet from the lens.\n\n\"Obviously, extreme depth of field will be necessary under such circumstances, and it can only be achieved by being able to stop down the lens of the composite camera. Even with today's fast films, this is in turn largely dependent on the illumination of the background screen.\n\n\"If this screen can only be illuminated to a degree demanding an f:2.3 exposure, such a shot is manifestly impossible, for it will lack the depth of field which will make it convincing.\n\n\"If, on the other hand, the background screen is illuminated to a level permitting an exposure at, say, f:3.1 or less, it becomes practical to make the shot which, in this case, requires adequate definition from fifteen feet or less.\"\nBoth Edouart and Haskin note that the triple projection principle minimizes several existing weaknesses of the process and permits new and potentially valuable methods of control. Graininess in the projected picture has always been a considerable problem. With images from three separate positives superimposed on the screen, the effect of graininess will be minimized, as individual grain images tend to overlap and cancel each other out. The same is true of flicker caused by variations in the projection light source. These fluctuations are most frequently caused by defects in the carbons; it is highly improbable that such defects should ever occur identically and simultaneously in three sets of carbons. In the case of a flicker in one of the three arcs, the total effect on the image will be reduced.\nThe projected picture will be one-third the size of a case using a single light source. Under most circumstances, the use of three light sources should result in a significant reduction of \"hot spot\" problems. With an ample reserve of illuminating power, the arc beams need not be concentrated to such an intense spot on the aperture, resulting in more even distribution of illumination over the picture area.\n\nConsolidated Films installs department for 16mm\nConsolidated Film Industries has equipped its Hollywood plant for the production of commercial 16mm prints of the same quality as its 35mm output for many years. In a room approximately 12 by 20 feet in area, but with abundant extra space.\nGeorge Yates, an executive of Consolidated for many years, has been assigned charge of a new department. For the last four months, he has devoted his undivided time to making a survey of the 16mm field, including an exhaustive study of the relative merits of prints reduced from 35mm. negatives in 16mm. reversal and in straight 16mm. negatives and positives. Yates believes that with the facilities developed by Consolidated in recent years, the highest quality in 16mm. prints comes from those reduced from 35mm.\nThe head of the new department expressed a wish to give customers what they want. \"We often hear it said the 16mm. branch of the industry is an infant,\" he said. \"Maybe it is, but it is a lusty and healthy infant and it requires nourishment. We intend to see that, as far as we are concerned, it gets just that. We intend to try to profit by the mistakes made in the 35mm. field.\n\nWe want to make good prints from original negatives, to build up and enhance the stock that is confided to our custody. In our plant, we aim to give all possible and available service to our customers \u2014 and I give our promise we won't enter into competition with them.\n\nIn showing his 16mm. laboratory installation, Mr. Yates declared not only was the equipment air-conditioned but it was the last word in progress in developing and in construction of the equipment.\"\n\"Yes, you may ask if it is a trial horse. But we believe that horse is already on its way to town. We are passing on to 16mm. The benefit of all the experience we have gained over a long period in 35mm.\n\nWe are installing projection for 16mm. Arrangements will be completed shortly so that the smaller of the two parallel theatrical projection rooms may quickly and conveniently be converted into a room for the 16mm. \u2014 and with projection equipment designed to give our prints the best possible reproduction on the screen.\n\nIn Consolidated's extensive laboratory in Seward street, in its parklike and landscaped grounds, plans are nearly completed for the final taking over of Magnacolor bipack. That is another announcement of importance for the near future.\"\n\nFischbeck-Murphy\nHarry Fischbeck and Miss Billie Murphy of Palm Springs were married in July by the Rev. Mr. Jardine of London. The bride operates the House of Murphy in Palm Springs. Mr. Fischbeck has been a director of photography for Paramount for eighteen years. He has just completed his assignment on \"World on Parade.\"\n\nOur compliments to John Alton, A.S.C.\n\nOver a year ago, John Alton, A.S.C., who speaks nearly a dozen languages, went to Buenos Aires and was engaged by Argentina Sono Film. He sailed from New Orleans on March 5. Upon arrival in B.A., he found a company car at the dock assigned to convey him to the studio, which is one of the top studios in South America. In early June, Alton completed his first picture, \"El Ultimo Encounter,\" translated as \"The Last Encounter.\" It was praised in the press, which hailed the exceptional cinematography.\nThe photographer, based in his home country but with extensive work abroad, completed his second picture \"Madreselva\" by October, featuring Libertad Lamarque. The Argentine press praised the film and Alton profusely. Simultaneously, Alton began work on the same company's \"Puerta Cerrada,\" or \"Closed Door\" in English. Regarding his plans for the upcoming project, Alton hinted privately about introducing something new in photography.\n\nOn the evening of July 23, for the second night, \"Puerta Cerrada\" was screened at the new Academy Theatre in Hollywood. Prior to the picture's opening, Donald Gledhill, the executive secretary, made a brief comment.\nThe audience was in for a treat despite the dialogue being in Spanish and the lack of English titles. The secretary assured the house that for \"sheer pictorial beauty,\" what was coming would hold its own with Hollywood product. The event lived up to the prophecy. The medium and long shots were uniformly lit in a low key. Shots taken closer to the camera were remarkable for their brilliance and impressive quality. They were the type that get under the skin of the admirer of photographic excellence.\n\nThe photography as a whole was dramatic in its effect and influence on the spectator. And indeed, what a subject: Libertad Lamarque, described in one Argentine newspaper as the best box office attraction in all Latin countries. It would be difficult, indeed.\nafter witnessing her work in this melodramatic tragedy to name her equal on the American screen, barring the language handicap. She is a singer of real quality and stage presence. She has remarkable physical beauty. She has great appeal and sincerity and rare charm, proving her high claim to rank as an actress.\n\nThe sound in \u201cPuerta Cerrada\u201d is first class and is credited to R. C. A.\n\nThe direction and production are of such excellence as to carry a business tip to American producers. There is to be feared in a competitive way in South America for South Americans and for Latins in Europe and the world around a force much greater and of more power than can be created in Germany, at least. The same applies to Italy.\nThe second of the nations making efforts to enter the Southern Continent. We are informed that \"Puerta Cerrada\" is in the custody of the Foreign Film Exchange of Los Angeles. On Friday, July 21, the Academy showed \"Alas de Mi Patria\" (Wings of My Country), produced by the same company as was \"Puerta Cerrada.\" It is a dramatization of the history of aviation in Argentina and was directed by Carlos Borcosque, known in Hollywood.\n\nAugust, 1939 \u2022 American Cinematographer 367\n\nImprove Your Titles\nWait maiden\n,** UUwa wiuV**\n,** y ryyyZn**\nBesbee Title Letter set, three-quarter-inch capitals and half-inch lower case letters.\n\nOf the frame. This minimizes the effect of any slight errors in centering and also prevents the projector aperture from cutting off the edges of letters.\n\nBy Bill Besbee\n\nTitlemaking is one of the most.\nFascinating pastimes connected with amateur movies. The particular satisfaction of this work lies in its creative aspect. The titlemaker has complete control over his results and, after a short period of experience, can be certain of getting exactly the effect he wants every time.\n\nGood titlemaking is a very satisfying end in itself, and it gives back much for the effort expended. But, more than this, titlemaking has become so much an integral part of amateur movies because good titles vastly improve any film.\n\nIn this role, good titles may take many important parts. They interpret the film to the audience; they speak for the silent actors; they describe far places and distant lands; they state facts and they are the parentheses without which no film may have a fitting opening and closing.\n\nThis is why titles are important.\nTo the occasional shooter who wants to make ordinary titles with a minimum of trouble; to the enthusiast who wants every titlemaking facility to try out his pet ideas; to the maker of business or industrial films; to the serious worker; the animator and the scientist. It is why titlemaking is one of the most active branches of the amateur movie hobby.\n\nBest Movie Titler\n\nThe best movie title is that which is clear and succinct. Try to put the idea over in as few words as possible. A short title is easier to arrange in a given space, and also has the advantage of being read more easily.\n\nLong, wordy titles take so much time for the audience to absorb that they may delay the action of the picture. Title writing is like creating a newspaper headline \u2014 it is the art of saying much in few words.\n\nWith a little practice this becomes easier.\nTitles should stimulate audience, not just provide dry information. Group title letters and arrange in 3 by 4 unit space of movie frame. Best to group words together in compact block of type in or near center of title surface. Convenience will dictate what size letters to use in title area. Within certain limits, if title is short, letters may be larger and vice versa. A 3 by 4 inch title can be made with letters % to % inch high, while a 9 by inch title can be made with letters % to % inch high.\nA 12-inch title will require between 5 and 1 inch or 1 inch of space. It is advisable not to overload a title with excessive distracting material. Next to the creation of actual pictures, title-making provides the most fascinating means of expressing one's ideas in home movies. Title-making offers satisfaction in itself and also enhances the accompanying picture.\n\nWith the Besbee Titlemaker, for instance, there is practically no limit to the innovative and original ideas that can be realized because this outfit provides every possible adjustment and accessory the amateur filmmaker requires to create perfectly arranged, accurately centered titles.\n\nThis titlemaker can be used for the simplest hand-lettered or typewritten titles, as well as the most carefully planned maps, animations, scientific, or cartoon work.\nThe easiest title to make is one built with Spell-O-Tex Titling Letters. These are die-cut from special composition and are provided with an adhesive backing, so they will adhere firmly to any smooth surface. After using, they may be removed and used again as often as desired.\n\nFor plain titles with reversal film, Silver Surface letters are best, although white letters may also be used with good results. The letters are arranged on the title background, which should be dark, according to regular titling rules for centering and spacing.\n\nFootage of Titles:\nThe lights are turned on and the camera is started running. The footage consumed for any given title will naturally depend upon the length of the title in words. A good general rule is one second per word.\nA word for all but the shortest words. Another method is to read the title over twice aloud while the camera is running. The Title Illuminator will be found most convenient for providing an even light on the title surface, although separate lights in reflectors may be used in place of this. Care should be taken to keep the illumination even. The exposure will vary with the type of bulb used and with the line voltage.\n\nSince a small diaphragm opening on the camera lens makes for a sharper title, it is suggested that No. 1 flood bulbs be used in the Title Illuminator with all film except superspeed panchromatic.\n\nThe following table will give a working basis for the maker of titles, using black and white reversal film, silver Spell-O-Tex letters on a 9 by 12 inch background, and two No. 1 flood bulbs:\n\nSlow type, \u201ccolor blind\u201d reversal film.\nFilm: A suitable title for this film includes:\nPar speed panchromatic - Agfa pan, DuPont, Gevaert or Eastman\nAgfa Plenachrome, Gevaert Ortho . f/5.6\nAgfa Hypan . f/8\nSupersensitive emulsions . f/11-f/16 (When using half speed, use next smaller stop opening in each case.)\n\nSmall title areas:\n\nThere are two classes of movie camera lenses in use; those which operate in focusing mounts and those which have fixed focus mounts. For general title making and all close-up work, the lens in a focusing mount is preferable. Most lenses in focusing mounts can be adjusted to focus sharply on distances from 24 inches to 12 inches from the camera.\n\nOwners of cameras with such lenses will find the Titlemaker extremely satisfactory. With the normal one inch lens, an area of about 3.5 by 4.5 inches is included at a distance of one foot, and about 7 by 9 inches at a distance of two feet.\nThe one-inch 16mm lens with fixed focus sets objects from approximately six feet to infinity for satisfactory sharpness. Since the title surface, shot at a six-foot distance, would be about 28 inches wide, users of fixed focus lenses must use \"portrait\" or \"closeup\" attachments when shooting titles smaller than 24 inches wide, or title letters will not appear sharp. The smaller the lens stop, the greater the focus tolerance; passable results may sometimes be had with a fixed focus camera using a very small stop (f/16) and plenty of light. However, the most satisfactory method lies in the use of auxiliary lenses, which can be obtained to focus sharply at several standard closeup distances. Using these auxiliary lenses, the covered area will be:\nThose who work with focusing lenses and wish to photograph areas smaller than the closest focus of the lens must use auxiliary lens attachments. The limits of close focus for the taking lens can be stretched a little by closing down the diaphragm to a small stop.\n\nThe method of many direct positive titles provides an effective way to use title cards that are lettered or printed in black on a white or light background. Since such lettering is much easier to produce on the white card than white lettering on black, the direct positive method is widely used.\n\nThe film employed is the regular 16mm. or 8mm. positive, which is available from all larger movie suppliers or film manufacturers. It may be had also.\nThis film is ready for use on a camera spool, either already loaded or spooled by the user. It can be purchased in 400 ft. rolls in regular \"laboratory packing.\" This inexpensive and effective film is suitable for title work due to its contrasty emulsion. It is used in the camera in the regular manner, increasing values by approximately two stops compared to regular reversal pan film. After shooting, the film is not reversed but developed \"straight\" in a contrast developer. This produces a negative image of the original title card with white letters on a dark ground. The direct positive title is then spliced into the regular reversal film with the emulsion facing the same way and will read correctly on the screen.\n\nA most interesting effect can be produced by using an actual moving background for titles. This is achieved by affixing the titles to a moving background.\nThe letters on the clear glass sheet are supplied, placing the glass in the easel and training the camera on an appropriate scene, which is shot through the glass carrying the title letters. This effect is best achieved by taking the outfit outdoors and setting it up on a firm support. With sufficient light on the title letters themselves, the lens may be stopped down to a point of f/4. Four attractive titles with Besbee special title backgrounds.\n\nSufficient depth should be given to make the title satisfactorily sharp, as well as the scene beyond. If a fast film is used, no difficulty will be experienced in stopping down in good bright daylight. The actual moving background should be chosen with the same principles in mind as when selecting still photographic backgrounds.\n\nFor those having cameras which will make lap dissolves, a pleasing effect can be achieved.\nBehad the first shooting scene with the title, and then dissolved into the scene without the title, with the camera still in the same position. Trick titles are one of the most fascinating branches of titling work, as here the imagination of the title maker has full play. This field is so large that it is impossible to cover it in detail in one issue.\n\nAugust, 1939 \u2022 American Cinematographer 369\n\nGrabbing\nNight\nEffects in Daytime\n\nWhen a professional cinematographer has an outdoor night effect scene to make, and one which does not require too many windows being lit up, he makes it in daytime.\n\nHow? By simply using infra-red sensitive film with a 23-A filter.\n\nBut unfortunately, not enough of these night effect scenes enter the province of substandard filming to make it worthwhile.\nWhile no manufacturer markets a 16mm. or 8mm. infra-red reversible film, daytime night effect scenes can be made successfully by any of us with our eights or sixteens. All that is necessary is to take a leaf from the professional's book.\n\nSpeaking first in terms of monochrome cinematography - the thing is easier in Kodachrome - the secret of putting over an illusion of night lies partly in having a jet-black sky which in itself suggests night, and partly in judicious underexposure.\n\nBefore the professional had a dependable infra-red sensitive film available, he made these daytime night effects with his regular panchromatic film and any one of several filters. The amateur, even if he hasn't the latest developments of infra-red film to use, can follow suit.\n\nThe filters most generally used for daytime night effects are the 72, or orange filter, and the 85, or red filter.\nThe \"Gamma\" filter and its combination, typically constructed as a single filter, consist of the red 23-A and green 56-B. For restricted use.\n\nThe amateur can acquire these same filters in sizes for smaller cameras from Eastman (Wratten filters), Scheibe, or Harrison. However, these filters are specifically designed for night effects and of little use for any other purpose.\n\nThe 72, for instance, is an ultra-deep brownish red filter with a factor ranging from 20 to 60, depending on the film type.\n\nThe 23A-56B combination is a somewhat lighter filter, not as reddish in color, and with a factor ranging from approximately 11 to 18, depending on the emulsion used.\n\nIn most home movie work, night effects occur infrequently, leading most of us to hesitate to tie up two or more filters.\nthree useful dollars in a filter of limited application. But there are other expedients. For instance, if one has a filter-holder which, like the Harrison and H.Cie. types, permits the use of two glass filters at a time, it is simple enough to provide your own \u201ccombination,\u201d using any good red filter such as a 23-A or an F, and any green filter, such as an X-1 or X-2 in combination. In some cases, those who use filters in fixed mounts like the ones supplied for Filmo cameras can achieve an acceptable combination by simply placing a gelatin filter of the desired color, cut out to the right size, between the filter cell and the lens. In this case, however, it is necessary to be sure the gelatin filter does not get wrinkled as the filter cell is screwed into place. Underexposure does rest, but even with only an ordinary deep yellow filter, it is possible to obtain good results in black and white photography.\nRed filters provide quite convincing night effects, but will darken the sky and overcorrect the rendering of green foliage to some extent. Underexposure is necessary to complete the effect.\n\nThis exposure issue cannot be addressed abstractly due to the numerous varieties of 16mm and 8mm films in use, each with different balances of speed and color sensitivity. Processing conditions also vary significantly.\n\nFor instance, Eastman film's automatic exposure compensating control requires significant underexposure to prevent unexpected transformation into an overfiltered daylight effect.\n\nThe best solution is to conduct one or two tests, which will provide a guide to exposure in the future. A good starting point would be using the filter without any initial adjustments.\nTo achieve any exposure increase, use a heavy red filter. This should provide an effect sufficient to offset most automatic exposure correction in processing plants. However, as professionals have learned, simply darkening the sky with a filter is only half the secret to good night effects. Lighting plays an equally important role.\n\nTo obtain compelling effects, compose the scene so that a rather heavy shadow falls across the immediate foreground, while the middle distance is a blend of sunlight and shadow, and the distance is more brightly lit.\n\nFor another thing, clouds do not necessarily need to be present in a night effect. A few big, fluffy clouds can add to the beauty of day effect scenes but are not essential for night effects.\n\nFiltered night effect shot taken in daytime. This still was made on Agfa infra-red.\nLet's make the rain. All elements are right, but there should also be a generous expanse of jet-black sky. Given his choice between too many clouds or none at all, the professional making a night scene infinitely prefers the cloud-free sky. If filter and exposure are to darken the sky satisfactorily, the camera should be kept away from the sun\u2014that is, keep the sun behind you or over one shoulder; never pointing the lens directly toward the sun, for the sky is whitish close to the sun, but grows progressively bluer after you have turned 90 degrees away. In making these night effects, there are several things to guard against. For one thing, the action of the filter which darkens the sky also tends to lighten any red objects in the scene. It doesn't, however, affect other colors as noticeably.\nAs a rule, it doesn't matter if a brick building suddenly grows lighter at night. But if a pretty girl's face becomes chalky white and her lips as well, your night effect won't be pleasing. The professional can use a special lip makeup for such scenes, but unless you are one of the few amateurs who use makeup, you'd better confine your night effects to long-shots.\n\nHave a care with red. Red dresses are a similar problem. If you are planning any night effect scenes, insist that the wife or girlfriend wear a dress of any color but red. For if she wears red, she is likely to do as some professional actresses have, and leave an interior scene in a dark dress \u2013 only to step outdoors immediately after, wearing an apparently white costume.\n\nNight effects in Kodachrome can be even more effective, and fortunately,\nAmateur photographers have an advantage when creating night effects. Instead of using a blue filter and under-exposing like professional cinematographers for Technicolor night effects, they can use a color film with a built-in blue filter, such as Type A Kodachrome. If you've used this film outdoors without the supplied pinkish filter, you're familiar with its distinctly bluish, moonlit effect. Combine this with under-exposure, which emphasizes long diagonal shadows, and you have a convincing night effect. However, there's one more touch you can add to such scenes. In some cases, this combination of unfiltered Type A Kodachrome can produce even more impressive results.\nAnd underexposure will still leave you with a sky that is too light and daylit, a shade of blue that does not suit. If that is the case, what is easier than darkening that sky with a pola screen?\n\nWith modern fast films, rainy-day movies are easy \u2014 even in the evening or at night. This still was photographed by Charles Waite on Agfa Ultra Speed Pan.\n\nSo you want to make a picture that will lift its head above the commonplace level of ordinary, run-of-the-mill home movies? Well, the easiest way to do that is to turn your camera on some spectacular, out-of-the-ordinary subject. If your picture has something distinctive to say, you won't need the camera technique of a Bill Daniels or a Joe Ruttenberg to make audiences pay attention.\n\nWait a minute now \u2014 who said anything about having to travel to Bali or Timbuctoo in search of unusual subjects?\nYou can find plenty of subjects right at home if you keep your eyes open and your camera handy. All that is necessary is to watch for places and times that you and all your camera-toting friends haven't shot to death. An ordinary place or action, filmed under unusual conditions, automatically becomes an unusual picture. Now that that's settled, here's some spectacular camera fodder that is easy to catch almost anywhere at this season. Just wait until the weather reports forecast a bit of rain. Then take your camera and reel off some scenes of familiar things in the rain.\n\nTrees in the Rain\nOne of the most spectacularly beautiful sequences in the 8mm. Kodachrome picture \u201cTrees,\u201d with which Preston Piper won third prize in the recent contest of the Orange County (Cal.) 8mm. Club, was made in the rain. The sequence began with a skyward angle shot of the trees.\ndull green tops of some tall trees against a slate blue-gray sky, with the light gray streaks of the falling raindrops strongly contrasted against the dark greenery. From this beginning, he went, with more conservative angles, to further shots of trees gleaming moistly in the rain \u2014 sometimes at the foot of an upcurving rainbow, sometimes by a rain-sprinkled brook, or beside the glistening ebony surface of a paved highway.\n\nAnother film, memorable also for its use of rain as a pictorial asset, was \u201cMoods of Nature,\u201d with which Paul Bumford of England some years ago captured a prize in the Cinematographer's International Amateur Movie Contest. Bumford's picture told the simple story of the passing of a storm over a typical bit of countryside \u2014 beginning and ending with fair weather.\nHe went into greater detail in this presentation about the storm, which was a more important point in his film's continuity. He began with shots of the storm clouds gathering. Then the wind, rippling the tops of a field of ripening grain. Next, the patter of the first scattered raindrops as they fell into the smooth surface of the lake and stream. Finally, the pelting rain itself, lashing the smooth waters almost to a froth. In the end, as the storm blew itself away and the sun came out again, the final droplets, effectively backlit, dripped from the leaves.\n\nBoth of these films depicted the country in the rain. To my mind, modern cities offer even greater possibilities for rainy day filming, and I am amazed that few have explored this.\nIf any cinema enthusiasts have turned their attention towards photographing rainy day scenes, consider the possibilities for pictorial effect. Broad expanses of glassily wet pavements and sidewalks offer reflections of people, buildings, and traffic. Don't forget about the picturesque reflections of auto headlights, traffic signals, street lighting, illuminated signs, and shop windows. For human interest shots, think about the thousand and one little details as people scurry for cover. Folks rushing blindly along under inadequate umbrellas, others dashing for streetcars or trying vainly to flag overworked taxis, and the rare few hardy souls who stride valiantly along umbrella-less, pretending not to notice the downpour. Then there are those who must be out in the drizzle \u2013 the raincoated policeman in gleaming black rubber.\nA newsboy, dripping as he directs traffic \u2013 coat collar upturned and a bunch of soggy \"extras\" under his arm \u2013 a small shopkeeper hopefully bringing out a rack of umbrellas for a \"special sale.\" Such a scene could begin, for instance, with a newspaper weather report insert, forecasting rain. Then, a shot of a man at the breakfast table, laying down his paper, going to look out the window, and finding the weather beautiful and clear. With this assurance that the weather man was, as usual, \"always wrong,\" he could venture forth to business, unprotected.\n\nThe next sequence could focus on the arrival of the promised storm \u2013 mounting clouds, increasing breeze, and so on, leading up to the first few drops. Then, logically, we could depict the effect of the rain on the people.\ninterspersed with the pictorial long shots due to the combination of moist, reflective pavements, lights, and so on. When these have been exhausted, several possibilities offer for closing our story. We can bring this central character, whom we have already seen leaving his home contemptuous of weather forecasts and rain gear, home through the storm, thoroughly regretting his carelessness. Or we can let him work all day indoors, unaware of the rain, and emerge after the storm is over, still blissfully unaware that the weather man was right, after all!\n\nRainy Day Technicalities\n\nThanks to modern lenses and film, rainy day movie making is much easier than it would have been a few years ago. For black-and-white, we now have the asset of really fast films, such as Super-XX, Super-Pellex and Agfa\u2019s Supreme.\nUsing fast emulsions during daylight hours, even the murkiest clouds and rainy days will seldom force us to open faster lenses to their fullest aperture. These fast emulsions open up new possibilities for twilight and after dark filming on wet days, as it is during these hours that some of the most striking wet-weather shots can be made. Auto headlights, advertising signs, and store windows are illuminated, making this an especially useful feature.\n\nKodachroming in wet weather calls for duplicate transparencies.\nDuplicate transparencies in color can now be made from most Kodachrome film \"stills\" at modest cost, Eastman announces.\n\nThirty-five-millimeter duplicates for screen projection or enlarged duplicate transparencies up to 11 by 14 inches.\nCan be made from original Kodachromes taken with a miniature camera. In addition, same-size enlarged or reduced-size duplicates can be made from most sizes of professional Kodachrome film transparencies. Miniature-camera originals may be submitted either mounted or unmounted for duplication. Thirty-five-millimeter duplicates for projection will be returned in Kodaslide Ready-Mounts, ready for use, unless the order indicates otherwise. If desired, miniature duplicates may be reproduced in sequence on film strips, provided all originals are the same size.\n\nFor a good bit more if we want a normal exposure, but in many cases the greater effectiveness of color makes the effort worthwhile. During the daylight hours, regular Kodachrome is of course the thing to use.\n\nDespite its relatively slow speed in comparison to such super-speed emulsions as Super-XX, you will still be sure to achieve good results with Kodachrome.\nIn some cases, you may need to decrease the camera speed to 8 frames a second, but in many more cases, normal speed operation will be sufficient. For shooting at night or during twilight, the faster processing speed of Type A Kodachrome, used without a filter, will be beneficial. A modern photoelectric exposure meter will prove invaluable during rainy day filming and other types of camerawork under unusual conditions. Normal lighting conditions can be deceptive, but on rainy days, the light reflected from the sky and headlights on wet streets, as well as the diffusion given by the clouds, can only be accurately measured by measuring the light reaching the camera at each individual setup.\nWe are certain of correct exposure. So, the next time it rains, load up the trusty camera, carefully protecting its lens with an extra-deep lens shade, and venture forth to get some of the really different pictures wet weather offers? And when the film is edited, you can sit back comfortably in your nice, dry chair beside the projector, and find out, firsthand, what it feels like to be one of those lucky fellows people congratulate for making unusual films!\n\nFocusing alignment gauge\nClose-up photography requires compensation for the difference of field shown in the viewfinder and increased accuracy in focusing.\n\nThe new Focusing Alignment Gauge announced by Bell & Howell for use with the Filmo Turret 8 permits the operator to focus exactly and obtain the exact boundaries of the close-up picture.\n\nSince the Critical Focuser (which is)\nan integral part of the Filmo Turret (8) and the lens in photographing position are exactly parallel. It is only necessary to slide the Focusing Gauge block to the right and revolve the selected lens back into place to photograph the picture precisely as focused and framed in the Critical Focuser. Thus, a title card, map, or any subject may be sharply focused and accurately composed within the film-frame area and then photographed with complete assurance. The price is $7.50.\n\n372 American Cinematographer \u2022 August, 1939\n\nPlan Your Movies As Well As Your Vacation\nBy Win* Stull, A.S.C.\n\nWhen a tripod is not used, support the camera on any available substitute.\n\nPhotographed by James A. Sherlock, Sydney, Australia.\n\nA cinematography friend was recently excited about his vacation plans. \"I'm going through Crater Lake and the Rogue River.\"\nHe said, \"River Country\"; then along the Columbia River and over to Glacier National Park. From there I head home through Yellowstone and Salt Lake, with a side trip to Boulder Dam. Won't I just have a knockout picture to show the club when I get home!\n\nFor an hour he overflowed with details about that wonderful vacation he'd planned. It seems he spent most of the last six months planning it - poring over guide books and road maps to extract the last mile of thrilling travel from the time and money he had to spend.\n\nPictures, you could see, were a prime reason for all this elaborate vacation planning. He would cover half a dozen of the most photogenic locations of the West.\n\nBut pictures, when you came to analyze his plans, seemed more and more incidental. He was going to places where pictures could be had. He himself was,\nA mighty capable man with a cinemax is, for snagging fine compositions. Pictures must inevitably follow, combining the two. \"Pictures\" or a Picture? Whether he will succeed is uncertain. It depends upon your idea of a picture. Undoubtedly, he will bring back hundreds of feet of pretty pictures. But will he bring back material that can be edited into a coherent motion picture that will interest audiences? It is to be doubted. He may have spent six months planning where he would go to get his vacation pictures. But he hasn't spent even six minutes planning what he will do with his camera when he gets there! He is leaving entirely to chance the vital matter of what his pictures will be and what they will say. The result will be roll after roll of photographically beautiful scenes.\nIt's easy to argue that none of us can forecast what will be happening around us six months, six weeks, or even six days in the future. We can't predict that at 9:47 A.M. on August 12, a brown bear will cross the road at a predetermined spot in Yellowstone in the right way to give us a perfect cross-lit shot.\n\nHowever, if we're going to Yellowstone, we can very easily foretell whether we're going to be interested in filming bears, pot-shooting at geysers, or making a celluloid record of the anglers of our party making a limit catch of trout. And long before we start, we can know whether we want our camera to concentrate on wildlife, on scenery, or on the activities of our particular party.\nBudgeting Filmic Ideas\n\nPractically all of us are faced with the necessity of budgeting our vacation time and cash. Quite a lot of us carry it a step further and at least make an attempt to budget our vacation film footage.\n\nIf the vacation planned is like our friend\u2019s, covering a lot of territory, we plan to hold ourselves in check at the less spectacular points so that we will have enough film left really to cover the more important locations.\n\nWhy not then, go the rest of the way and budget our filmic ideas as well? It will save time, film, and money\u2014 and it will give a more satisfying picture in the final assembly. There will be more meat and fewer wasted scenes and yawning gaps in continuity.\nIf we give the matter a little thought, we'll find plenty of clues to guide in filmic planning. First and most important is the audience aimed at. Yes, we're all aiming at some audience even in the simplest \"home movie\"! With some it may be just the family or the group which makes a vacation trip together. With others, the audience may widen to include friends\u2014camera-minded or otherwise. Still others may want a picture that will please not only the family and immediate friends, but also a larger group, such as a club. And a rare few other hobbyists\u2014usually those lucky enough to be undertaking some really out-of-the-ordinary vacation venture\u2014can look forward to interesting audiences of total strangers in our films. Each of these audiences demands a different treatment. The family group may appreciate scenic shots, but if there are children, they may prefer action scenes or comedic moments. The larger audience may require a more polished production, with clear dialogue and a compelling narrative. The strangers in the audience may be intrigued by exotic locations or unusual situations. Understanding the audience is crucial to creating a successful film.\nThe average group of friends is less interested in seeing people than in seeing unfamiliar places. The club audience makes its first requirement good photography but also appreciates good photography used as a vehicle for telling a story, not a scenario, but one that can be summarized as showing someone went somewhere, saw such-and-such places and such other interesting people doing these interesting things, and then came home. The general audience wants further particulars about the unusual place you visited.\nActivities there. A Polynesian raw fish banquet is interesting to them \u2013 especially the details of how it was prepared and how the natives eat it. The fact that you and your wife were there is purely incidental, and maybe irritating. Each of these audiences is really asking you a question when your picture flashes on the screen. The family audience wants to know who was there with you. The friendly audience is a lot more interested in what was done. The club audience likes a complete story of where you went, embellished, of course, with good photography. The general audience is usually most interested in the how of things \u2013 how Samoa looks, how the Samoans live, and so on.\n\nDon't Overlook Family\nSo if you know the sort of audience most likely to see your picture, you have an excellent indication as to the type of scenes deserving the most footage.\nIf  you\u2019re  shooting  for  the  family,  you \ncan  ignore  a  lot  of  things  any  less  inti\u00ac \nmate  group  might  demand.  If  you  are \nhoping  to  please  any  wider  audience, \nyou  can  ignore  much  of  the  family  foot\u00ac \nage.  It  would  only  have  to  be  cut  out, \nanyway. \nAll  of  which  leads  us  squarely  to  tak- \nART  REEVES \nM  otion \nPicture \nEquipment \nStudio  and \nLaboratory  Tested \nSince  1929 \nAUTOMATIC  DEVELOPING  MACHINE \nCOMPLETE  IN  EVERY  DETAIL \nHOLLYWOOD  USERS  CAN  ATTEST \nMACHINE'S  SUPERIORITY \n\u2022  Sensitester \n\u2022  Variable  Density  Sound \nSystem \n\u2022  Variable  Area  Sound \nSystem \n\u2022  Single  System \n\u2022  Re-recording  System \n\u2022  Microphone  Boom \n\u2022  Reeves  Lites \n\u2022  Sound  Accessories \n\u2022  Laboratory  Accessories \nART  REEVES \nCable  Address:  ARTREEVES \n7512  Santa  Monica  Blvd.  Hollywood,  California,  U.  S.  A. \n374  American  Cinematographer  \u2022  August,  1939 \ning  a  wallop  at  a  fault  that  has  marred \nmore  vacation  films  than  anything  save \nMany otherwise excellent vacation or travel films suffer due to filmmakers attempting to compromise with filmic genres, leading to unnecessary sequences of uninteresting people and their silly activities that do not contribute to the picture as an outsider sees it. These films, despite having limited total footage, would be better off as two separate, interesting half-reel pictures.\nFamily, one for outsiders \u2014 each of which will really interest its audience, rather than having one full reel which is neither fish, flesh nor filmic? And it only takes a little advance planning \u2014 a little budgeting of filmic ideas \u2014 to prevent such an occurrence. And if the purse strings will stand it, you\u2019ll find it just as easy to plan your shooting so you will have one full reel of family film and an equal footage of general-interest production! With that sort of planning, you can start your vacation certain that you\u2019ll return with a picture that will really please your audience!\n\nThe Tri-City Cinema Club\nThe Tri-City Cinema Club, composed of amateurs living in Davenport, Iowa, and Rock Island and Moline, Ill., elected officers for the following year at a meeting June 27 at the People's Power Company Auditorium in Rock Island.\n\nDr. James Dunn of Davenport was elected president.\nThe chosen president was W. W. Brubaker, Davenport. Other officers included First vice president H. J. Lytle, Davenport; Second vice president, Dr. Albert N. Mueller, Rock Island; and secretary-treasurer, Dr. Paul White, W. L. Langwith, and C. R. Crakes, all from Davenport. The board of trustees consisted of Dr. Paul White, W. L. Langwith, and C. R. Crakes. The meeting marked the first anniversary of the club, which had a paid-up membership of 69. Following the business session, movies from the May meeting and the 16mm color film \"Return Trip from South America,\" by Mr. Langwith, were projected. M-G-M Studio had sent Sid Wagner, A.S.C., and Jack Smith, A.S.C., to the Idaho location for \"Northwest Passage.\" For the Technicolor company, William Skall, A.S.C., and Charles P. Boyle, A.S.C., had been assigned. Bids for amateur material were being accepted.\nAmateur photographers making 16mm. or 35mm. educational films of marketable standard are invited to write and tell about it to Stillfilm Inc., 4703 West Pico Boulevard, Los Angeles. Do not send films first.\n\nAmateur photographers who have short negatives on animals, birds, travel, trains, ships, etc., anything from 25 feet up that can be included as part of a complete reel, or even those who have more footage that would make good educational material, are invited to drop us a line, giving particulars as to contents. Do not send films until requested.\n\nWe will purchase good negatives, either 16mm. or 35mm., that we can use in the assembling of certain educational subjects.\n\nFred Hoefner, who for years has conducted the Stillfilm exchange, has moved into larger quarters.\nDucted a studio machine shop at 5319 Santa Monica Boulevard, Hollywood, is now situated in new and larger quarters at 915 North La Cienega Boulevard.\n\nHow Much Brighter This Screen Makes It! *\u2019\nYour pictures on a Da-Lite Glass-Beaded Screen have amazing realism. The superior light reflective qualities of this screen sharpen details and give new brilliance to color and black and white film. Available in many styles, including the popular Challenger shown above, which can be set up instantly anywhere\u2014the only screen that can be adjusted in height simply by releasing a spring lock and lifting the extension rod. 12 sizes from $12.50* up. Other styles as low as $2.00*. Write for literature and name of nearest dealer.\n\n* Prices slightly higher on Pacific Coast\n\nGlass-Beaded Screens\nDa-Lite Screen Co., Inc.\nAugust 1939, American Cinematographer 375\nAnton F. Baumann, a lifelong member of E. Leitz, Inc. staff, died while making a picture by attempting to secure a \"different\" angle from a high position. He had recently completed a lecture and demonstration tour of several Southern cities.\n\nBaumann joined the employ of Ernest Leitz as a young boy, initially working in the research department. Upon the introduction of the Leica, he recognized its potential and dedicated all his picture-making and lecturing activities to Leica technique worldwide.\n\nWhen color films emerged, Baumann devoted much time to them. He projected his slides to audiences nationwide, inspiring many photographers to work with this new medium.\nThe B-M Sound Recording Unit Model P comes with rugged construction and critical manufacturing standards, ensuring efficient performance for two full years without consideration of footage amount. Write for literature.\n\nB-M SOUND RECORDING UNIT\nMODEL P\n\nThe Berndt-Maurer Corp.\n117 East 24th St. . New York, NY.\n\nAnton F. Baumann\n\nProcess Shots (Continued from Page 366)\n\nIn many instances, as Haskin notes, it could be possible to decenter light beams deliberately, illuminating one print most strongly at the center, the second at the right side, and the third at the left side, effectively spreading the \u201chot spot\u201d over virtually the whole picture area.\n\nWider Control\n\nThe same principle introduces a completely new range of control possibilities. It becomes entirely feasible and often desirable to vary the intensities of the illumination.\nThe three arcs individually, balancing the total output to the needs of the scene. An even more flexible means of control is by using background prints of MOVIOLA FILM EDITING EQUIPMENT. Used in every major studio. Illustrated literature on request. MOVIOLA CO. 1451 Gordon St. Hollywood, CA. Motion Picture Critic Supply, Inc. 723 SEVENTH AVE. NEW YORK CITY. BRYANT 9-7754 _ J.BURGI CONTNER CABLE CINECAMERA. Several different densities to control not only screen brightness, but also contrast, gradation and shadow illumination in the projected image. This control can be compared only to the wider control possible in balancing three-color prints as compared to the more limited printing control familiar in monochrome. The principle of triple process projection extends not only the physical scope of the projected background process but also the quality of the results.\nThe large number of important productions, both in monochrome and natural color, obtained with these equipment have been amply proved. Warner Brothers' notable Technicolor productions, such as \"Gold Is Where You Find It,\" \"God's Country and the Woman,\" \"Heart of the North,\" \"Robin Hood\" and \"Dodge City,\" owe much to the triple process projector. Among the outstanding productions upon which Paramount has made use of its triple projection equipment are \"Spawn of the North,\" \"Union Pacific,\" \"Say It in French,\" \"Artists and Models,\" \"Geronimo,\" \"Man About Town,\" \"Ruler of the Seas,\" \"The Light that Failed\" and \"Beau Geste\" in black and white, and \"Men with Wings\" and at least three currently shooting Technicolor productions, including \"Dr. Cyclops.\" Several of these could scarcely have been made without the added scope and depth provided by the triple projection equipment.\nThe flexibility of the triple process system. All are examples of improved quality, difficult or impossible to achieve by conventional methods.\n\nFuture Advances\nIt will be seen, therefore, that the introduction of the triple-head process projector not only advances the physical scope of projection process cinematography in black and white and in color, but also tends to improve the quality of results obtainable on process shots of more routine scope. This is achieved by increasing the possibilities of control and minimizing or eliminating disadvantages heretofore accepted as inevitable. As such, the new device becomes not only a technical but an economic asset to the industry.\n\nCinematographers Edouart and Haskin and their staffs are therefore to be congratulated not only on the ingenuity shown in solving their immediate problems.\nLemms, but in giving to the industry a means of gaining greater advantage from a process which has within a short space of years become one of its most vital tools.\n\nJack Guerin, A.S.C., head of the technical department for 35mm film for Gaavart, left the West Coast July 9 for the East. He will be away several weeks.\n\n.376 American Cinematographer \u2022 August, 1939\n\nImagination Enhances Photographic\nBy Bess Foster Smith\n\nWe have heard a great deal about creative art, music, and creative literature, but so far as I have seen practically nothing much has been said about creative photography. Perhaps this is because photography is supposed only to reproduce what already exists and does not therefore really create anything.\n\nBelieving this, we do not attempt anything with creative values in our pictures. This idea was more nearly true.\nIn the early days of still pictures - the kind you find in the old family album. Today, with so many picture contests and picture magazines, picture takers have become more artful. Moving pictures furnish one of the very best mediums for creative art and should rank along with good literature and music. A wrong definition for creative art is probably much to blame for our wrong thinking in regard to photography. We have supposed that the creating went on in the mind of the artist or composer while he made up his picture, music, or poem out of whole cloth. This is not necessarily true. The thing that matters is, that he put something into his picture, poem, or music that appeals to the imagination of his admirers and thus creates in those minds, through effects, much more than is actually expressed.\n\nIn other words, the creating in photography, poetry, or music is not only about the artist's mind but also about the impact on the audience's imagination.\nThe art of creating in the minds of \"looker-oners\" is due to the artist's clever manipulation. A touch of a real artist was seen in the picture on the Saturday Evening Post cover nearly a year ago. It was just a shaggy little dog with a cocked head outside a closed schoolhouse door. Yet, it put a whole story into the minds of every viewer. One visualized not only the master inside but felt the loneliness of both the dog and boy, and even conjured up past experiences on the subject. Each interpreted the picture in his own version, creating from the effect given by the artist. With this interpretation of creative art, one can easily enhance the appeal of their movies by trying to cultivate the practice of putting these effects into practice.\nThe greater the actor, the less acting he seems to do. Of your favorite star, you will say, \"He didn't really do anything. It was just a little twist of the mouth or some gesture that appealed to me.\" Other actors may go through fire and water and you are not moved to tears. A good way to become mindful of creative atmosphere is to watch for these effects in the next moving picture you see instead of letting yourself be carried away with the picture. Study what the actors actually do. Then, in your own mind, determine how your conception of what they portrayed squared with what the scene actually showed.\n\nFor the amateur moviemaker, the creative atmosphere can be cultivated in the following manner. For classification,\nEffects of film can be divided into three classes, although in reality they are interconnected.\n\n(1) Effects of incident: These will stimulate the mind to create action not depicted on the screen. For instance, a wrecked car with liquor bottles scattered about tells a sad story.\n\n(2) Effects of mood: An example of this is a man trying to telephone the police and holding a gun on a burglar. His mood is shown by the fact that he points the phone at the burglar and holds the gun to his ear.\n\n(3) Effects of character: A girl in lounging pajamas smoking a cigarette while mother washes the dishes.\n\nFor these examples picked at random, we judge life and interpret art as some phase of life.\n\nIn taking pictures of scenes, strive for effects that will bring a feeling of peacefulness, grandeur, storm, or homeliness.\nIn picturing persons, get the moods or character as portrayed in some action. In getting news or incident, get pictures that will show the reason or cause of the incident. When trying to stage or make a story of your home movie, your ability to catch these effects will be the all-important thing.\n\nWhen we keep in mind these creative appeals, photography rises from its original purpose to the most creative of all the arts. It involves one of the most important principles of education: that one likes and retains what he thinks out for himself, but dislikes to be preached to.\n\nPictures, like music, can teach in this subtle way, and like all the other arts become a great factor in shaping life.\n\n5000-Watt Spot\nExclusive Instant Focusing\nLeak Proof Lens\nLight Weight\nSturdy Construction Approved for Technicolor Optically Correct Bardwell & McAlister, Inc. Motion Picture Electrical Equipment 7636 Santa Monica Blvd. Hollywood, California Tel. Hollywood 6235 August, 1939 American Cinematographer 377\n\nColumbia Tells Of Camera by The Columbia Broadcasting System, from its studio in Hollywood, each Monday night at 9:30 to 9:45 broadcasts under the title of \u201cColumbia\u2019s Camera Club.\u201d The leader of the club is Maurie Webster, described as its president, who reports that in the nine months the program has been on the air some 5500 persons have made written application to the studio to be recorded as members.\n\nAs guest speakers some of the most prominent photographic authorities on the West Coast have appeared with Mr. Landers L. Trissel, Inc. Rentals - Service: -- Motion Picture Cameras - Blimps - Dollies - Camera Crane.\nAND ALL ACCESSORIES for PHONE\n6313 Sunset Boulevard, Night (near Vine Street)\nLanders HE-1311, Hollywood, California\nTrissel - Sunset 25992\nCamera Supply Company\nArt Reeves\n1515 North Cohuenga Boulevard, Hollywood, CA\nCable Address \u2014 Cameras, CA\nEfficient-Courteous Service\nNew and Used Equipment: Bought, Sold, Rented\nEverything Photographic: Professional and Amateur\nEastern Headquarters,\nFor the Cameramen\nthW-HVAVC Sells. Howell\nstudio & cutting\n'mitchell cameras\nRoom Equipment\nRtf\nPERT\n\u2022L Fice.\nFrank-Zucker Cable Address. Cl N Equip\nUamera Equipment\n1600 Broadway, NYC\nCircle 6-5080\nWebster and discussed photographic subjects and gave advice and help to listeners-in. Reached at each broadcast is the studio\u2019s west coast network. The president notes a definite growing interest in the work being sponsored by the club, one of the chief aims of which is:\nis  to  extend  help  to  the  expanding  mass \nof  photographic  new-comers. \nEach  broadcast  there  is  present  one  or \nmore  persons  of  achievement  in  the \nfield  of  photography  or  of  persons  who \nhave  achieved  in  other  fields  and  are \nphotographic  addicts.  Each  Monday \nnight,  too,  a  resume  is  given  of  the  best \nletters  received  during  the  preceding \nweek  which  pass  along  to  the  listeners-in \nthe  experiences  of  the  writers  in  the  do\u00ac \nmain  of  gadgets  or  the  more  general \nfield  of  camera  and  darkroom. \nAt  the  beginning  of  an  interesting \nbroadcast  Mr.  Webster  described  and \nwith  captivating  interest  a  picture  he \nhad  looked  upon  during  the  preceding \nweek,  a  picture  the  photographic  spon\u00ac \nsor  of  which  remained  unidentified.  But \nlet  Mr.  Webster  describe  the  subject  in \nhis  own  words: \nCovers  Lot  of  Ground \n\u201cTwo  nights  ago  I  made  a  tour  of \nthe  west  coast.  Yes,  that\u2019s  right,  in \nThirty minutes, I saw more beautiful sights from Puget Sound to Death Valley than I ever dreamed existed. I explored the national parks and saw unusual, out-of-the-way scenes that thrilled me more than any travelogue I\u2019ve ever attended. And all this because Hal, a friend of mine who bought a movie camera two years ago, set out to keep a record of his trips.\n\nHis movie \u2014 in full color \u2014 was a grand example of what to do with travel pictures. He opened with a shot of his Cooke Lenses. Cooke Lenses have earned worldwide preference among experienced cinematographers because they give superior results under all conditions. Focal lengths for every need.\n\nBell & Howell Company\nExclusive World Distributors of\nJ. Lor-Hobson Cooke Cine Lenses\n1848 Larchmont Avenue, Chicago\nNew York: 30 Rockefeller Plaza\nHollywood: 716 N. La Brea Ave.\nLondon: 13-14 Great Castle St.\nAugust, 1939. \"A wife sits in an easy chair, reading a book about adventure in the outdoors. With a homemade dolly, which he'd constructed from a small platform and some heavy castors, he moved the camera in closer. You saw a picture of a beautiful mountain scene in the book. The next shot looked as if it had been made in the same location. There was his wife in hiking clothes, climbing a trail to a stream where she paused for a drink of water. He identified the location with a close-up of a trail sign pointing to Bridal Veil Falls in Yosemite National Park. Then we saw their campsite in the valley, the laughing vacationists in Camp Curry. Reflected Thrill 'Everywhere there were people to keep the picture interesting, while the glorious blues and greens and reds of the landscape shone through.' \"\nThe mountains and sky gave a thrill nearly as great as actually being there.\n\nIn Washington, Hal visited Mount Rainier with its lovely Paradise Valley. Luck was with him, and he came back with several feet of film showing a waddling bear cub exploring the contents of their lunchbox. What the film missed, though, was the mother bear's appearance just as Hal was about to eject the baby bear from the food supply. Nothing serious happened, that is, not much.\n\nAnother picturesque stop was Pyramid Lake in Nevada, where Hal assures me fifty-pound trout are not at all unusual. And since he reinforced his story with a color shot of one as he pulled it out of the water, I'm inclined to believe him.\n\nOne of the most interesting bits of the film showed their trip by pack train up the side of rugged old Mount Whitney \u2014 accessible today as never before.\nHal caught the action of their guides loading the equipment on the pack mules. He had a striking shot of the train, looking down on them as they came around a horseshoe turn. Another time he followed them as they climbed up the crest of a rocky ridge, silhouetted against the deep blue of the sky.\n\nBut the crowning achievement of that trip was a never-to-be-forgotten panorama, which he shot while perched on the crags, nearly fourteen thousand feet up. From the cathedral-spired dome of Mount Whitney, highest point in the United States, he slowly swung the camera around, glimpsing the peaks of the neighboring ranges, and finally looking afar off to the Salton Sea, a hundred miles away but clear and distinct through the mountain air, 280 feet below sea level.\n\nDuring the entire film, Hal made use of the little tricks that mean so much.\nHe included objects in his landscapes for depth, having people whose actions fit the surroundings in his pictures. The scenes weren't stiff or obviously planned. There were hiking, fishing, driving, camping - all the things that spell outdoor fun. Signs and well-planned shots made title usage unnecessary. The entire film told a story - a tale of adventure in the Western part of the United States, exploration into little-known spots, and unusual curiosities that really surprised me. Yesterday, I pulled out maps and travel folders and started planning a camera vacation for this summer.\n\nNew two-inch viewfinder objective for use with available two-inch teleobjects.\nphoto lenses announced by Bell and Howell for use in the Filmo Aristocrat Turret 8 movie camera. The two-inch lenses with the new viewfinder objective permit 8mm film users to shoot distant scenes, recording images sixteen times larger than with the regular half-inch lens.\n\nThe new two-inch finder objective for the Turret 8 is priced at $5.50. Of the 1506 motion pictures imported into Ireland last year, American pictures accounted for 82%, British pictures for 17%, with the remaining 1% made up of German, French, and Irish films.\n\n35MM, 6c, 16MM. Laboratory equipment for color and black and white, Continuous Sound and Picture Printers ... Automatic Developing Machines ... Light Testing Machines ... Registration Step Printers ... Bi-Pack Color Step Printers ... Optical Printers. Laboratories Write For Details\n\nFried Camera Co.\nA: FRIEDCAMCO, 6155 Santa Monica Boulevard, Hollywood, Calif. FAXON DEAN, INC.\n\nNew high quality\u2014high output 16mm picture reduction printers: cameras\nCompletely new series of small 35mm and 16mm developing machines at attractive prices\nBlimps-dollies FOR KENT: color printers\u2014bipack, Dufay, in addition to the full regular line of Cameras, Printers, Multiplex developing Machines, etc.\n4516 Sunset Boulevard CbhisL (OsbhisL, jhtc.)\n\nAugust, 1939 \u2022 American Cinematographer 379\n\nThe new lens extension tube outfit adds range and versatility to the Magazine Cine-Kodak, with which it is pictured here. Tube kit includes four tubes and supplementary fittings as shown.\n\nNew RCA Catalog\nAn attractive 56-page catalog containing a complete listing of all RCA sound equipment for a wide variety of applications in the industrial, entertainment and other fields.\nThe Commercial Sound Section of RCA Manufacturing Company has announced offerings in the educational fields. All items in RCA's extensive sound equipment line are indexed and cataloged with photographs, prices, specifications, and general descriptions, including possible uses. A compact guide for prospective buyers is included in an easy-to-read chart of six basic sound systems, which, with extra equipment for special requirements, cover every standard application.\n\n8mm BULK FILM, 16mm\nNON-HALATION WESTON 8\nFine grain, semi-transparent. Can be used in any straight or double 8mm camera.\n200 ft. 8mm in double 8mm width, S1.75\nFor titles, negatives, reversal, positives. Laboratory packed. Formulas included. Write for catalog on bulk film. 8mm, 16mm, 35mm.\n\nHollywoodland Studios\nSouth Gate, California\nOpens New Filming Fields for Cine-Kodak Magazines.\nNew fields in small-object photography are opened up for Magazine Cine-Kodak owners by a set of lens extension tubes for this camera, recently announced by Eastman. The tubes may be used singly, to obtain extra extension of 1, 1.5, or 2 inches, or fitted together to obtain a maximum added extension of 7 inches. With all tubes used together, the standard 1-inch f.1.9 lens covers a field about 1.27 centimeters wide. By means of the extension tube kit, tiny objects can be pictured several times actual size on the film \u2014 and on the screen they appear enlarged hundreds of times. The Central Camera Company, 230 South Wabash avenue, Chicago, has issued its Photographic Almanac for 1939. It consists of 258 pages and covers and is fully illustrated. The pages are approximately 15.24 by 22.86 centimeters. It does not seem possible that there is any essential difference between this and other photographic almanacs.\nThe photographic item is unrepresented in these pages and probably isn't included. It is a complete book. The 1-inch f.1.9 lens and any accessory lens for the camera fit into the lens tube adapter. The retail price of the tube kit, which includes instructions and exposure tables for use with black and white film and Kodachrome, is $27.50. The tubes must be used with the focusing finder for the Magazine Cine-Kodak.\n\nNew B & H Lens Attachment\n\nFor some time, the wide-angle lens has been an accessory much demanded for 8mm Filmo cameras. Responding to this demand, Bell and Howell now announce the Hyper Cinor lens attachment. It doubles the lens angle, allowing the area photographed to be twice as wide and twice as high as that of the lens used without it. Additionally, it includes provision.\nFor focusing. When normal use of the lens is desired, the attachment is unc screwed and removed with a few quick turns.\n\nAn example of use: When using the normal lens, the camera must be about twenty feet away to photograph a person six feet in height. With the Hyper Cinor lens attachment in place, the camera need only be half as far away.\n\nGOERZ\nKINO-HYPAR LENSES\nTake charming Color Movies of Vacation, Sport and Travel Scenes on Kodachrome, Dufaycolor and other color films.\n\nThe high chromatic correction of these lenses will yield results which will be a revelation to you and your friends.\n\nClear-cut images, undistorted, of microscopic definition and wonderful, crisp brilliance.\n\nFocal lengths 15 mm. to 100 mm \u2014 can be fitted in suitable focusing mounts to Amateur and Professional Movie Cameras.\n\nGOERZ REFLEX FOCUSER\n\u2014 Patented \u2014\nA boon to 16 mm. Movie Camera.\nusers \u2014 eliminates parallax between finder and lens \u2014 provides full-size ground-glass image magnified 10 times. Adaptable to lenses 3\" and up. Also useful as extension tube for shorter focus lenses for close-ups. Extensively used in shooting surgical operations, small animal life, etc.\n\nAddress: Dept. AC-8\nC.P. GOERZ AMERICAN OPTICAL CO.\nAmerican Lens Makers Since 1899\n380 American Cinematographer \u2022 August, 1939\nCinema Club of San Francisco\n\nThe regular monthly meeting of the Cinema Club of San Francisco was held Tuesday evening, June 18 at 1355 Market street.\n\nBy way of entertainment, a showing of the 16mm. Kodachrome sound film \u201cVacation Adventureland\u201d had been arranged through the courtesy of the Great Northern Railroad.\n\nClub member Robert McCollister talked on his recent trip through some of the Los Angeles movie equipment manufacturing plants with a demonstration.\nNew equipment was presented, including a 16mm Kodachrome film showing the manufacture of spectacles. Denis Donohue, President.\n\nNew Focusing Finder: Slipped into the Filmo 141 motion picture camera in place of the film magazine, a direct focusing finder announced by Bell and Howell permits both precise visual focusing and accurate framing of any subject, near or far, through any photographic lens. The image on the ground glass is upright.\n\nOriginator of Effect Filters: G. H. Schoivo, 1927, 78 West 78th Street, Los Angeles, CA. Modern Movies, Inc. completes 16mm service: Picture and track negatives and prints machine-processed in our air-conditioned laboratory. Optical printing: Titles and special effects. 6018 Fountain Avenue, Hollywood, CA. Hollywood, Outdoor.\nIs a Quality Non-Halation Fine Grain Semi Ortho Film. Produces Clear Sharp Pictures.\n\nHollywood 16mm Outdoor\nBuy Your Film by Mail and Save.\n\nFilm C0 PER 100 FOOT handling charge.\nRoll, plus 10c a roll. Min. 2 rolls at this low price. Cost Includes machine processing, spooling, mailing. Fits all 100 ft. camera, wound on 100' ft. daylight loading spools. 1/3 cash with COD orders. California buyers include sales tax.\n\nHollywoodland Studios\nSouth Gate California\n\nThis new focusing finder is particularly valuable for closeups, small objects, titles, maps and animated cartoons when using the Filmo 141 magazine loading camera.\n\nSince the 141 Camera may be reloaded while it is firmly mounted on a tripod, it follows that the focusing finder also may be used.\nThe Geo. W. Colburn Laboratory Special Motion Picture Printing presents the New Bell & Howell lightweight Tru-Pan Trigod, fitted with a stand and Bell & Howell pan-and-tilt head. Bell and Howell is issuing the Tru-Pan Tripod for 8mm. Although priced affordably for 8mm. moviemaking, the new Tru-Pan Tripod, designed specifically for 8mm. filmmakers, offers the all-around utility of more expensive all-metal tripods. The smoothly operating pan-and-tilt head is the same as that employed on the Bell and Howell All-Metal Tripod. The cost-saving comes from the two-section, selected hardwood legs, which are strong and rigid, and can be adjusted to many different lengths. Both pan and tilt can be operated or locked independently.\nAugust 1939, American Cinematographer 381, Documentary No. 1 (Continued from Page 3 US)\n\nRenee Adoree's memory stands out for this writer: the scene where she runs after the lorry and fails to clamber aboard. Had she been given the extra help of sound, her performance might have been even more compelling.\n\nThe editors demonstrated the impact of sound on the screen through a sequence featuring Paul Muni in \"Zola.\" It's near the end, when Zola's entire forty-year achievement hangs in the balance, as Dreyfus is proven innocent.\n\nIn a March of Time press book, the following statement can be found: \"These scenes, recreating today the performances of famous actors, were painstakingly chosen by the editors of the March of Time after months of research in the Film Library of the Museum of Modern Art.\"\nThe editors have chosen wisely for \"Art in New York.\" William C. DeVry, son of Herman A. DeVry, the motion picture equipment manufacturer, met film heads and cameramen using DeVry products during a stop in Hollywood on his way home from San Francisco. He arrived at a time when a new line of motion picture equipment was being introduced, including 35mm. and 16mm. sound cameras, a new 16mm. heavy duty arc lamp sound projector, and a new 35mm. DeLuxe theatre projector. The equipment is on display at the new and larger DeVry Hollywood branch office at 5628 Hollywood Boulevard. The DeVry Corporation will release in the near future a series of educational materials.\nThe educational film company recently acquired three million feet of institutional film. The company is set to introduce two major motion picture equipments this fall.\n\nMinneapolis Cine Club Officers for 1939-40:\nPresident: Harold Bronson\nFirst Vice President: Ed Johnson\nSecond Vice President: Dr. Len Martin\nSecretary: Dr. Reinhold Ericson\nTreasurer: Fred Grabow\nSocial Chair: Ray Kullberg\nExecutive Board: Harold Bronson, Dr. R.M. Ericson, W.R. Everett, Ed Johnson, Dr. Leonard Martin, Leslie Olsen, Carroll Davidson, F.C. Grabow, Carroll K. Michener.\nEditor: Rome A. Riebeth.\nNew York 8mm Club\n\nThe June meeting of the New York 8mm Club showcased outstanding films in both 8mm and 16mm. Two 16mm prize winners were screened: T.J. Courtney\u2019s \u201cRiches from\u201d.\nThe Sea\" and Fred C. Ells' \"Still Waters.\" The club interchange featured the 400-foot 8mm film \"Youth,\" by A. 0. Jensen of the Seattle 8s. New York member Vincent McGarrett presented a talk on \"Filters,\" illustrated by cut-out cards to show the effect of putting a filter before an emulsion with stated color sensitivities. The meeting concluded with the showing of \"The Clock Strikes 12,\" by Member Silverman. Visitors to the New York Fair are invited to attend the meetings.\n\nVincent McGarrett.\n\nIntroduction to Movie Making (Continued from Page 362)\n\nMuch of your time and footage. While some folks don't give a hang for shooting buildings or market scenes, there are others who have developed a genuine fondness for recording different types of architecture or close-ups of people found in foreign countries.\n\nMy hankering happens to be toward recording different types of architecture.\nI film wildlife and travel, as well as shoot action stuff on hunting and fishing, neither of which I'm particularly good at. I get a bad case of buck-fever-itis every time a mallard comes over, and I usually spend the rest of my time wrestling with backlashes or picking trout flies out of droopy willows. Maybe it's just as well, because I've found that it's pretty hard to shoot movies and enjoy my favorite sports at the same time.\n\nFOR SALE\nREBUILT SILENCED BELL & HOWELL with focusing shift-over and magnifier, three lenses, tripod, sunshade, finder, $1400.\nMotion Picture Camera Supply, Inc.\n723 Seventh Avenue, New York City\nCable Address: Cinecamera\n\nThe World's Largest Variety Of\nStudio and Laboratory equipment with latest improvements as used in Hollywood at tremendous savings. New and Used. Mitchell, Bell-Howell, Akeley, De Brie, Eyemo, animation.\nProcess cameras, lenses, color magazines, adapters, lighting equipment, silencing blimps, dollies, printers, splicers, moviolas, motors, light-testers, gear boxes, synchronizers. Guaranteed optically and mechanically perfect. Send for bargain catalog.\n\nHollywood Camera Exchange\n1600 Cahuenga Blvd., Hollywood, Calif.\nCable : Hocamex\n\nLatest model DeVry 35mm sound projector in fine condition with amplifier and speaker. Also DeVry camera. All for $200.00.\nDon Malkames, 40 Standish Ave., Tuckahoe,\n\nNew precision test reel for projection and sound. Developed by prominent SMPE member. Combination visual, sound tests for all soundtrack adjustments. Indicates travel ghost, sidesway, picture jump, etc. Contains visual targets and constant level frequencies. W. E. Mirrophonic recording. Truly simplified, easily understood. Comparative value, $75.00. With full instructions, $29.50. 16mm.\nOne should not attempt to engage in multiple sports simultaneously. One or the other is bound to suffer. If you wish to create a golf movie, bring a tripod instead of clubs, and spend your time framing nice scenics along the fairway or close-ups of your golfing companions' excellent putting. Plan out continuity or develop a scenario in advance and adapt it to changing conditions. As a result, your finished product will provide greater pleasure for future audiences than a straightforward camera record of the day's game. As your film library expands, explore innovative editing and titling techniques for your odds and ends footage. To enhance the enjoyment of home movies, synchronize reels with appropriate music and sound effects. Recordings may not fully capture every picture mood, and sound discs are available with varying qualities, from the crackle of old records.\nBurning wood to the bellowing of a steamer whistle. With music and sound properly synchronized, it is possible to create effects even more realistic than if you were filming with a sound track camera right on location.\n\nThe RCA Manufacturing Company has announced the appointments of Fred W. Wentker as assistant Photophone division manager and W. L. Jones as national service manager. Wentker was formerly assistant manager of the service division, while Jones has been in charge of RCA Photophone service activities.\n\nWe buy, sell, rent, Eyemo, Debry, Bell & Howell, Mitchell cameras; sale. Leicas, Contax's, Graphics, Graflex's, and all cameras and accessories. Time payments. Camera Mart, 70 West 45th Street, New York.\n\nWe buy, sell, and rent professional and 16mm equipment, new and used.\nWE ARE DISTRIBUTORS FOR ALL LEADING MANUFACTURERS. Rubber Camera Exchange, 729 Seventh Ave., New York City. Established since 1910.\n\nNelson Continuous 35mm. Sound Printer, three deep tanks, racks - $350.00. De Brie Parvo, 2 lenses, tripod, 8 magazines, cases - $300.00. Akeley, 2 lenses, 6 magazines, tripod, cases - $750.00. Guaranteed. Ennis C. Helm. 2643 NW 11th Street, Oklahoma City.\n\nWanted:\nWe pay cash for everything photo-graphic. Write us today. Hollywood Camera Exchange. 1600 Cahuenga Blvd., Hollywood.\n\nWanted to buy for cash:\nCameras and accessories. Mitchell, B & H, Eyemo, Debrie, Akeley. Also laboratory and cutting room equipment.\n\nCamera Equipment Company\n1600 Broadway, New York City.\n\nCable: Cinequip\n\nWanted: 35mm. Bell & Howell professional camera. What have you to offer? Call or write. Cinema Photo Shoppe. 1140 No. Western Ave., Hollywood, Calif. GR-541U\n\nClassified Advertising\n382 American Cinematographer \u2022 August, 1939\n\nEvidence that \u201cyour skill will never outgrow a Filmo\u201d \u2013 a new film rewinding device and frame counter for making lap dissolves, fades, and double exposures with any Filmo Double 8 Camera, old or new.\n\nHandy controls permit turning the feed spool to rewind the film with the shuttle disengaged. Film footage is accurately indicated by a new frame counter.\n\nAs the T-H I2V2 mm. F 2.5 lens diaphragm closes fully, cameras using this lens are ready for making laps, dissolves, etc., when the new units are added. However, a unit for fading in or out automatically with various lenses will be available soon.\n\nAdditional reasons why Filmos keep pace with your progress are the four film speeds including slow motion.\nsingle-frame exposure device, the instant lens interchangeability, the scientific design and precision construction. Now is the time to get your Filmo. Prices are lower, and there's no better season to begin. Bell & Howell Company, Chicago; New York; Hollywood; London. Established 1907.\n\nPalm-size Filmo 8\nonly\nFilmo 8's take color movies even in slow motion. Has 4 speeds, single-frame exposure, instant lens interchangeability, findermasks for telephoto lenses. With F 3.5 lens and speeds from 8 to 64 f.p.s., and other deluxe features, $75.\n\nNew \"Shelloading\"\nGives you instant magazine loading which permits mid-reel changes from color to black-and-white film without spoilage\n\nFilmo 141 is a superb new 16 mm. camera designed for those who want the best. It operates almost automatically, prevents common mistakes, and provides the versatility you've been looking for.\nFilmo 141 has four speeds, including slow motion, and single frame exposure. Its lens and finder objective unit are instantly interchangeable with a full range of telephoto, wide angle, and speed lenses and matching finders.\n\nOff-center pictures are eliminated by Filmo 141\u2019s \u201cpositive\u201d viewfinder. Other features include: a rubber eyeglass guard, starting button lock, built-in exposure guide, pocket-fitting size. See Filmo 141 at your dealer\u2019s. You\u2019ll find it's as attractive as it is efficient. With Taylor-Hobson 1-inch F 2.7 lens, now only $115.\n\nPrecision-made. Gives you 8 mm. Economy Plus. Instant readiness for every movie shot. The new Filmo Turret 8 mounts three lenses and matching finder units on a revolving turret. When a lens is in position, its viewfinder is, too. An exclusive \u201cpositive\u201d viewfinder shows a magnified image.\nThe sharply outlined image on the screen is exact, even if your eye is not centered at the eyepiece. It features a straight-through-the-lens critical focus, four speeds including slow motion, single-frame exposure, an automatically reset footage dial, and a complete exposure guide. See the Filmo Turret 8 at your dealer.\n\nThe illustration above shows the new film rewinding button, described to the left and above, which is extra, optional equipment.\n\nUSE COUPON\nTO GET\nDETAILS!\n\nBell & Howell Company AC 8.39\n1848 Larchmont Avenue, Chicago, Ill.\n\nSend illustrated folder describing:\n- New 16mm Film 141\n- Filmo Turret 8\n- Filmo 8's with I single lens seat.\n\nName\n\nBell & Howell\nMitchell Cameras\nMITCHELL CAMERA CORPORATION\n665 North Robertson Boulevard, West Hollywood, CA\nCable Address \"MITCAMCO\" Phone Oxford 1051\nBell & Howell, Ltd., London, England\nClaud C. Carter, Sydney, Australia\nD. Nagase & Co., Ltd., Osaka, Japan\nAgencies:\nMotion Picture Camera Supply Co., New York City\nFazalbhoy, Ltd., Bombay, India\nH. Nassibian, Cairo, Egypt\nSeptember 19--\nForeign 35mm\nPublished in Hollywood by\nAmerican Society of Cinematographers\nEclair Camera Makes Hollywood Bow\nStull\nDensitometry and the Laboratories\nHuse-Chambers\nEastman Distributes M-B Lamp\nBlaisdell\nCamera Records Marvels from Air\nKuhne\nShooting Local Fairs\nSprungman\nAround World's Studios\nPatel\nDocumentaries for the Amateur\nSherlock\nKodak Precision Enlarger Unique\nAlton Wins Praise in Argentina\nEmby Opens Plant in the West\nEastman Has New 8mm. Fast Pan\nMerritt Gerstad, A.S.C.\nLoretta Young\n\nIn Superior Pan, the essential characteristics of a negative film are combined in practical relationship to each other. This balance of photographic qualities produces Superior Pan's remarkable versatility, ensuring beautiful screen results under all conditions.\n\nFor your next production schedule, rely on the all-round excellence of this balanced film, Du Pont Superior Pan.\n\nDu Pont Film Manufacturing Corporation INCORPORATED\n9 Rockefeller Plaza SMITH & ALLER, LTD.\nNew York, N.Y. 6656 Santa Monica Blvd.\nPlant Parlin, N. J. Hollywood, California\n\nBETTER THIN QS for BETTER LIVING through CHEMISTRY\nAmerican Cinematographer \u2022 September, 1939\n\nNOW! The Versatile\nImproved!\n\nThe versatile Bell & Howell Eyemo was always superior in the field of portable cameras. Now,\nThe new models of Eyemo have many important changes, making it even better than before. Eyemo is instantly ready to handle any emergency in the studio or the field. It can be equipped with a tripod, 400-foot magazines, electric drive synchronized with a sound recorder, and other studio camera accessories. Alternatively, it can be quickly stripped down to a light, compact, spring-driven hand camera.\n\nEyemo features focusing and diaphragm controls visible through the viewfinder, standard S.M.P.E. sound aperture, vibrationless governor, and other features.\n\nFor complete details, please mail the coupon.\nBell & Howell Company, 1848 Larchmont Ave., Chicago; 30 Rockefeller Plaza, New York; 716 N. LaBrea Ave., Hollywood; 13-14 Great Castle St., London. Est. 1907.\n\nNew Eyemo Model M, with compact turret and crank and spring drive. Note new flat base.\n\nMAIL COUPON FOR DETAILS.\nBell & Howell Company, 1848 Larchmont Ave., Chicago, Ill.\n\nSend complete details about the new improved Eyemo.\nName:\nAddress:\nState:\n\nNew Eyemo Model Q: Equipped with external 400-foot magazine and offset turret. Note new flat base.\n\nImportant Improvements:\n- Wf'Wf positive viewfinders are now available for both turret and single-lens Eye-mos. The positive finder offers a full-size image, regardless of the focal length of the lens used, and the field does not shift, no matter how the eye moves about the eye-piece.\n- A new flat base gives perfect seating on any flathead tripod. Base is 21/2'x21\".\n- Two dowel holes in base ensure perfect camera alignment.\n- Every lens can now be locked in focus, with a new setscrew, positive locking device.\n- A new locking device, for use with the offset turret, assures alignment even with long, heavy lenses.\nSeptember, 1939 | American Cinematographer | Vol. 20, No. 9\n\nSomething to Remember by George Blaisdell ...390\nDensitometry and its Application to Motion Picture Laboratory Practice by Emery Huse and Gordon Chambers ...391\nJohn Alton, A.S.C., Does it Again ...394\nAgfalite: New Portable Has Great Flexibility ...395\nEastman Takes on Bardwell-McAlister's Lamp ...397\nShooting Local Fairs by Ormal I. Sprungman ...401\nGeorge Barnes Awarded Nod in Reporter\u2019s Poll ...403\nAround the World's Studios by A.J. Patel ...404\nEastman 8mm. Super-X Pan three times as fast. Kuhne\u2019s camera records marvels from air (Kuhne, 405)\nKuhne\u2019s camera records marvels from the air\n\nCounty Supervisors take pictures of drunk drivers (410)\nPraise comes for camerawork (412)\nDocumentaries for the amateur (414)\nBy James A. Sherlock\n\nEmby Company opening plant for manufacturing in the West (415)\nKodak Precision Enlarger Unique (416)\nEclair Camera makes Hollywood bow (418)\nBy William Stull, A.S.C.\n\nFilters cannot perform miracles (421)\nPlanning vacation script (422)\nBy John T. Chedester\n\nWholesale Camera Supply making reduction in price (428)\n\nFront Cover\nMerritt Gerstad, A.S.C., and Loretta Young.\nLoretta supplied beauty and acting, and Merritt enhanced her contributions to Walter Wanger\u2019s \u201cEternally Yours\u201d with his exceptional lighting and photography. A series of \u201cchoker\u201d animated portraits used in a montage are said to be among the most impressive. (Merritt, Gerstad, Young, Wanger, \u201cEternally Yours\u201d)\nbeautiful  closeups  of  the  celebrated  star  ever  made. \nWanger  complimented  Gerstad  by  giving  him  a  new  year\u2019s  con\u00ac \ntract.  Gerstad  was  also  responsible  for  the  excellent  photograph\u00ac \ning  of  Ann  Sheridan  in  Wanger\u2019s  \u201cWinter  Carnival,\u201d  which \nlaunched  la  Sheridan\u2019s  career  as  a  full-fledged  star.  One  of  the \nreal  veterans  of  motion  pictures,  Gerstad  has  been  a  first  camera\u00ac \nman  twenty-five  years  and  was  one  of  the  first  Hollywood  cinema\u00ac \ntographers  to  work  with  color. \nPhoto  by  Frank  Powolny \nThe  Staff \nEDITOR \nGeorge  Blaisdell \nWASHINGTON \nSTAFF  CORRESPONDENT \nReed  N.  Haythorne,  A.  S.  C. \nTECHNICAL  EDITOR \nEmeryr  Huse,  A.  S.  C. \nADVISORY  EDITORIAL  BOARD \nVictor  Milner,  A.  S.  C. \nJames  Van  Trees,  A.  S.  C. \nFred  W.  Jackman,  A.  S.  C. \nFarciot  Edouart,  A.  S.  C. \nFred  Gage,  A.  S.  C. \nDr.  L.  A.  Jones,  A.S.  C. \nDr.  Herbert  Meyer,  A.  S.  C. \nCIRCULATION  MANAGER \nL.  F.  Graham \nNEW  YORK  REPRESENTATIVE \nS. R. Cowan, 19 East 47th Street, New York. Phone Plaza 3-0483.\n\nForeign Representative:\nGeorges Benoit, 100 Allee Franklin, Pavillons-sous-Bois, Seine, France. Telephone LeRaincy 13-19.\n\nAustralian Representative:\nMcGill\u2019s, 179 Elizabeth Street, Melbourne, Australia.\n\nThe American Cinematographer and the American Society of Cinematographers are not responsible for statements made by authors.\n\nEstablished 1920.\nForeign: $3.60 a year.\nAdvertising Rates on application. Subscription: United States, $2.50 a year; Canada and the Pan-American Union, $2.60 a year; Single copies, 26 cents; back numbers, 30 cents; foreign, single copies, 36 cents; back numbers, 40 cents.\nCOPYRIGHT 1939 by American Society of Cinematographers, Inc.\n\nEntered as second class matter November 18, 1937, at the post office at Los Angeles, California, under the Act of March 3, 1879.\n\"388 American Cinematographer \u2022 September, 1939\nAGFA\nSUPREME\n... the film combining astonishing speed with extremely fine grain, improved color balance and gradation ...\ntmm mmi\nStilliiiiilli\nAGFA\nULTRA-SPEED PAN\n... the film for use when extreme speed is the most important consideration ...\nAND YOU HAVE two great Agfa films for your use. Supreme ... the ideal film to give better results under normal production conditions ...\nand Ultra-Speed Pan for work, under exceptionally difficult lighting conditions.\nSpecify these two great Agfa films from now on. Made by Agfa Ansco Corporation, Binghamton, New York, USA.\nAGFA RAW FILM CORPORATION\nHOLLYWOOD\n6424 Santa Monica Blvd.\nTel: Hollywood 2918\nNEW YORK\n245 West 55th Street\nTel: Circle 7-4635\nSeptember, 1939 \u2022 American Cinematographer 389\nSomething to Remember\nTHERE was a preview in Los Angeles August 21 which was\"\nThe finely photographed picture was \"The Star Maker,\" and those who appeared on the screen were set around Bing Crosby. Walter Damrosch, the 77-year-old orchestra leader, was there, venerable, impressive, human, lovable, and efficient. In all the years he had been in the public eye, and despite the many tempting offers that must have been made him, this was his first public screen appearance. And with his debut came that of another, at the other end of the age scale. It was the screen debut of a singer, Linda Ware, a 14-year-old wonder. The dean of orchestra leaders gallantly, almost reverently, bestowed words of high praise on her.\n\nThe setting was one to remember. Already behind the house was a night that was rare in the way of entertainment. There had been laughter, much, and there had been moments when the audience was brought to tears.\nA lump in the throat was at least perceptible. The boys and girls had put on their acts, sung their songs, and done their dances. The marvelous voice of Linda Ware had thrilled the house with operatic music and popular music. The time had come when the show could be put to bed, and everybody would be happy.\n\nHowever, in the course of the smooth running of the show, it came to pass that Linda should sing accompanied by the Los Angeles Philharmonic Orchestra, with Walter Damrosch as conductor. The soloist came on stage, attired in a long and simple gown. The orchestra was in its places, the leader by his stand. The leader greeted the child, greeted her with both hands. The leader waved his baton, the musicians responded, and the child began to sing \u2013 in perfect ease and assurance. The voice rose and fell, with the music.\nThe notes flowed in a steady and effortless stream. As the climax was surmounted, with the same lack of effort from the young singer, the house relieved its tension with sustained applause. The veteran leader turned to the singer. Again, he put out both hands. As he grasped the child's hands, he leaned over and implanted a kiss on the singer's brow. It was a moment neither of the two participants nor any member of the applauding house would forget. Not the least of the finer sides of the cinema club is where the business meeting is merged into a home gathering. Continually, \"Will you have another hamburger?\" or \"How about a little more punch?\" are heard. And for once, the parliamentarian is silent. Members of the Los Angeles Cinema Club.\nOn the evening of August 1, the group gathered at Major F.J. Rutland's hillside home. At the rear and on the level of the house was a good-sized swimming pool. At the base of the steep thirty-foot rise to the tennis court was an open fireplace, built for such occasions. There was a great coal fire underneath, hemmed in by high sides.\n\nWhen darkness had descended, when the lights from the city below were brilliantly present, and when there was no longer any response to seductive suggestions as to food and drink, the party ascended to the tennis court. There they looked on a Cinematographer prize winner of 1932, \"I'd Be Delighted To,\" and Kinney Moore's \"Prize Winner\" of 1937. Then Father Hubbard's \"Majesty of Alaska\" in infra-red entertained the party, followed by Major Rutland's own color 16mm. picture.\nin Kodachrome taken in England in 1937. It was an unusual blending of entertainment. Then there came swimming on the main deck and badminton and related games \"topside.\" It was an all-around evening and greatly enjoyed.\n\nReaders of this issue will note the illustrations from the camera of Jack Kuhne in the center of this book. It is possible they also may have seen them on the screen sometime within the last month. Caught in the Magic Carpet at the Hollywood News Reel Theatre something like a month ago, this writer was impressed by the remarkable beauty of the spectacular pictures shown. He believed these pictures would be admired by the readers of this magazine. With this belief in mind, he got busy. Through the courtesy of Rodney Bush, exploitation manager of Twentieth Century-Fox Film Corporation, he obtained the rights to use these illustrations in the magazine.\nNew York, we are enabled to show you what may be seen in these pages. Those who saw them can tell of their photographic beauty. If altitude gives clarity, then he certainly had it at 25,000 feet and got it. Another thing it is quite certain our readers will agree with us on, and that is the photograph of Jack Kuhne: It is a photograph and more. Certainly, it might be the creation of a sculptor who designed a heroic figure of a cameraman on adventure bent \u2013 and found it here.\n\nParamount showed the latter part of August \"Range War,\" one of Harry Sherman\u2019s superior brand of Western product that permitted Russell Harlan, A.S.C., a chance more than casual to display his western country. There were mountains and snow, a lot of them, in the background, and smiling country in the foreground. And the photography in them was good to look on.\nAs one of the many who continue year after year to love the western picture, to love it without thinking it necessary to apologize to anyone or anybody for lavishing that affection on it, it's good to find someone who is making them better as time goes on and who keeps on making them. The brand of men Producer Sherman puts into his cast speaks well for the quality of his product\u2014acting quality counts in every picture\u2014men from William Boyd down the line whose names often are found in casts other than westerns.\n\nAmount is releasing \u201cThis Man Is News,\u201d a picture that is British made all the way. The story is around a newspaper, with comedy and tragedy in abundance. The majority will be inclined to say that it couldn't happen, yet they will probably concede on being pushed that it all is not impossible.\nIts finish brought applause from a semi-preview house, which in itself is something. Three persons in particular were so good there's room on anyone's list for them \u2014 Barry K. Barnes as Simon Drake, a reporter; Valerie Hobson as his wife, Pat, and she, while not a newcomer, seemingly is young and certainly is vitally refreshing, and Alastair Sim as MacGregor, the city editor who with suddenness was catapulted from the depths of despair to the heights of triumph \u2014 and then again to the depths. The alternation of melodramatic twists for the period of the play of four or five days keeps the audience tense \u2014 which is entertainment plus. \"This Man Is News\" is worth seeing.\n\nStrange indeed is RKO-Radio\u2019s \u201cNurse Edith Cavell.\u201d It is a story practically without a laugh. Yet it is a story that is gripping though grim, one in which it builds steadily toward the climax.\nAnna Neagle plays her part to the hilt, thinking only of it and not herself. She moves swiftly yet unhurriedly, and is untheatrical yet displays a full realization of her fate. The cast around her is splendid and will add to the acclaim for the player and the play.\n\nDensitometry and Its Application to Motion Picture Laboratory Practice\nBy Emery Huse and Gordon Chambers\nMotion Picture Film Department, Eastman Kodak Company, Hollywood, California\n\nOne of the most important steps of sensitometric control in the processing of motion picture film in the modern laboratory is the measurement of the density values of the steps on the sensitometric strips used. These same methods are applied to sound negatives.\n\nAmerican Cinematographer \u2022 September, 1939\n\nDensitometry and Its Application to Motion Picture Laboratory Practice (Continued)\nBy Emery Huse and Gordon Chambers\n\nArticle I\n\nOne of the most important steps of sensitometric control in the processing of motion picture film in the modern laboratory is the measurement of the density values of the steps on the sensitometric strips used. These same methods are applied to sound negatives.\n\nMotion Picture Film Department, Eastman Kodak Company, Hollywood, California\nThe paper discusses the use of densitometers in laboratories, focusing on specific problems and precautions. While there is extensive literature on this topic, previous discussions have been general in nature and have not addressed daily laboratory issues. This paper aims to discuss the instruments, applications, limitations, and necessary precautions for interpreting values obtained.\n\nCharacteristics of the Material to Be Measured:\nThe developed photographic image is composed of mixtures of silver halide crystals and other substances. The amount of light absorbed by these materials determines their density, which is measured by densitometers. Understanding the characteristics of the materials is crucial for accurate measurement.\nNute silver particles and the light transmitted by such a deposit is scattered, a condition not true of materials like dyed neutral gray filters which transmit a light beam without altering its size or direction but only diminish its intensity. This scattering power of a photographic deposit is very important and must be taken into consideration in the design or use of any instrument for measuring its transmission. During recent years, numerous workers have investigated the optical problems associated with the measurement of transmission of photographic deposits, and a number of instruments are available commercially for this work. However, it will be found that the values obtained by measurements on instruments of various types do not always agree.\nDefinitions of Common Units\n\nThe result of a measurement of light absorption can be expressed in one of three ways. It may be written as the transmission (T), which is usually given in percent. The transmission is the ratio of the emergent light to the incident light. Since the transmission decreases as the amount of silver increases, the term opacity (\u00d8) is sometimes used. Opacity is the reciprocal of the transmission, 1/T. In addition to these two terms, Hurter and Driffield introduced the word density, which they defined as the common logarithm of the opacity or log 1/T. The following table shows the relationship between a series of these values:\n\nTransmission %\nTransmission\nOpacity\nDensity\n\nThe effect of superposing two or more silver deposits would be obtained by multiplying together their separate transmissions.\ntransmissions  or  their  opacities  or  add\u00ac \ning  their  individual  densities,  if  the  ef\u00ac \nfect  of  interreflection  between  their  sur\u00ac \nfaces  is  neglected.  A  more  complete \ntable  showing  the  relationship  between \ndensity  and  transmission  is  given  in \nTable  I. \nIn  most  cases  in  motion  picture  prac\u00ac \ntice  the  unit  density  is  used.  The  char\u00ac \nacteristic  curve  of  a  photographic  ma\u00ac \nterial  is  usually  represented  graphically \nby  the  relationship  between  density  and \nthe  logarithm  of  exposure.  This  curve \nwhen  plotted  is  a  visual  expression  of \nthe  useful  practical  characteristic  and \nis  known  as  the  \u201cH  &  D\u201d  curve  after \nHurter  and  Driffield,  who  first  used  it. \nSince  this  curve  is  so  important  in \ntechnical  photographic  work,  it  is  obvi\u00ac \nous  that  the  measurement  of  density  is \none  of  the  fundamental  bases  of  photo\u00ac \ngraphic  investigation.  Although  inter\u00ac \nnational  standards  exist  for  almost  all \nThe other units used in photography, as the meter for distance, the candle for intensity, and the second for time, no such standard exists for determining the apparent simple value of density.\n\nC. Optical Systems for Density Measurements\n\nThis is due entirely to the profound effect on an optical system exerted by a photographic deposit consisting, as it does, of discrete particles of silver. The size of these particles may vary from those having a diameter of 0.0001 inches up to 0.002 inches.\n\n(From the July Movie News, official organ of the Australian Amateur Cine Society)\n\nThe big gathering of photographers from Sydney and neighboring States left in the R.M.S. Strathaird for Port Moresby on Friday, 23rd ult., amid scenes of excitement and enthusiasm.\n\nSo far as numbers are concerned, the cruise, in which the A.ACS has been organizing, will provide ample opportunity for the exchange of ideas and the demonstration of new equipment.\nMr. H. Mallard, the busiest man aboard, has assumed control and is a decided success. The day after departure, while the steamer was heading northward, he gathered all photographers together. After introductions and a friendly talk on the possibilities of the trip, badges were handed around. On these was inscribed \"Port Moresby Photographic Cruise 1939\"\u2014blue badges for \"still\" and red for cinematographers. This badge will enable those with common interests to work together. For excursions ashore at the port of call, charabans will display blue and red ribbons so that mutually interested parties may travel together. It is more than probable that the A.AC.S. will be interested in assisting to promote another cruise around this time next year.\n\nSeptember, 1939 - American Cinematographer\n\nTABLE I \u2014 Concluded\nLet us imagine a simple optical system for measuring transmission. From a light source, such as an incandescent lamp, light or flux, as it is termed by the physicist, is obtained. We have a means of collecting this light, such as a hollow ball or sphere having an opening on one side through which the flux may enter. The incident light is represented by Fo, the hollow sphere by S, and the density to be measured by D. If we place the emulsion surface against the opening in the sphere, as in Figure 1A, all the light coming through the emulsion, the emergent flux, will be collected by the sphere. The arrows in this figure indicate the direction of the scattered light, and by their length, the relative amount in each direction.\nLet  us  now  move  the  sphere  away  as \nshown  in  Figure  IB.  The  scattering  of \nlight  by  the  density  has  not  changed \nand  so  the  sphere  collects  only  that \nportion  emerging  on  the  axis. \nTwo  completely  different  measure\u00ac \nments  of  the  transmission  have  now  been \nmade.  That  illustrated  in  Figure  1A, \nwhere  all  the  transmitted  light  is  col\u00ac \nlected  by  the  sphere,  results  in  a  density \nvalue,  when  calculated  from  the  trans\u00ac \nmission,  which  is  called  the  diffuse \ndensity. \nThe  measurement  obtained  by  an  op\u00ac \ntical  system  such  as  that  in  Figure  IB \nresults  in  a  lower  value  for  the  trans\u00ac \nmission  because  less  of  the  emergent \nflux  is  collected.  The  density  value  de\u00ac \nrived  from  this  measurement  would  be \nCuba  Providing  Money  For \nBenefit  of  Local  Pictures \nThere  has  recently  been  introduced \ninto  the  lower  branch  of  the  Cuban  Con\u00ac \ngress  a  bill  providing  for  a  tax  upon \nMotion picture distributors or producers of 33% of gross box office receipts in Cuba for every film shown in the Cuban national territory, according to a report received in this Bureau from the office of the American Commercial Attache at Havana.\n\nProceeds from this tax would provide prizes to Cuban film producers, authors, and composers, as well as an annual subsidy of $18,000 for a Cuban theatrical company.\n\nDesigned to restrain the outflow from Cuba of film rentals claimed to aggregate millions of dollars, the bill limits the film rental payable to foreign producers or distributors to not more than 40% of gross entrance receipts of the individual films.\n\nOther sections of the bill require that within fifteen days of enactment into law, movie impresarios must submit to the Secretary of Commerce a list of admission prices.\nThe specular density, called transparency, is higher than the diffuse value. In Figure 1C, an intermediate condition is represented where part of the scattered light is collected together with all of that portion along the axis. Such a measurement is called \"quasi-specular.\" If we were to imagine the sphere in these diagrams represented a photo-electric cell connected to a meter of some sort, we would get the largest deflection for condition A, a small one for condition B, and some intermediate value for C which would depend upon the distance from the given density to the opening or window of the cell.\n\nFigure 1A represents the condition during contact printing from a negative, as all of the light passing through it interacts directly with the photo-sensitive material.\nThe negative emulsion acts upon the print material. Figure 1C depicts what occurs in enlarging, where the lens gathers only part of the total light passing through the emulsion of the negative. Because a very slight deviation from the ideal condition in Figure 1A, where all emergent flux is collected, alters the results towards condition C, extreme care is required to exclude all scattered light in condition B. The design of an instrument or densitometer to achieve either A or B, each an ideal condition, is challenging. In general, failure to attain these ideal conditions is the reason for disagreement between various densitometer types. (September, 1939 \u2013 American Cinematographer 393 \u2013 A more detailed and complete discussion of differences)\nThe relationship between fusion and specular density, along with measurement results on various films across a range of values, is discussed in Tuttle's paper. The theoretical connection between the two values is explored, and it is noted there that this relationship is not strictly linear. In most cases, the diffuse density value is the desired one. However, in special cases such as sound projection where a specific optical system is used, the density should be measured in place within the system. The determined density should be indicated by a suitable term, such as the one commonly used in the sound field.\n\nJohn Alton, A.S.C., has once again achieved it, this time in Argentina. His work on \"El Matrero,\" a free interpretation, is praised in ten or more news articles, all of which agree on the quality of his work.\nTucuman is a remote province. Alton was assigned to cowrite the scenario prior to production. He put speed into the script, a necessity he had acquired while working with W.S. Vandyke on the Tim McCoy western series. The result was a surprise to all \u2013 the picture was not only a photographic success but an artistic one as well.\n\nOrestes Caviglia, director of \u201cEl Matrero,\u201d during an interview remarked, \"I must mention for his intrinsic merits John Alton, who aided me with his ample culture in writing the scenario and for his experienced contribution in the filming of the picture.\"\n\nSays Best Yet.\nFrom the Standard, the local paper printed in English, we learn the picture is based on Felipe Boero\u2019s opera. The hero is the gaucho, or cowhand, cruel and ruthless, yet indolent and romantic. The Standard declares in its opening that the picture is a noteworthy contribution to Argentine Film production and merits full marks as an outstanding achievement. It adds that \"El Matrero\" is the best picture yet made in a local studio. One of the best features of \"El Matrero\" is that most of the scenes have high \"projection density,\" in order to distinguish it from the diffuse density commonly used in the laboratory. Where no such distinguishing label is given, it is normally assumed that the diffuse density is meant. All commercial instruments for density measurement, which are known as densitometers, are intended to yield diffuse density.\n\"Jones, L.A. (Jour. S.M.P.E., 17 and 2 Hurter, F., and Driffield, V.C. (J. Soc.,) Tuttle, Clifton (J.O.S.A. and R.S.I.), are exteriors. The photography is magnificent, and John Alton has really shot some wonderful scenes. Woods, hills looking down on verdant valleys, and some superb cloud effects against hilly ridges are some of the chief characteristics of \u2018El Matrero.\u2019 La Nacion, the most important paper in South America, devotes 24 inches to the story of the preview. While photography is seldom mentioned in its columns, in this instance the critic very frankly goes overboard. \u2018El Matrero,\u2019 it declares, is a poem of native dramatic accent. It contains noble and beautiful motion picture material with rich exteriors not very frequently seen among us. Photographically, it records beautifully.\"\nThe scenes were captured with magnificently lit close-ups, carefully done double exposures, and exteriors of high-class beauty in the vicinity of Tucum\u00e1n. El Mundo, an important morning paper of international reputation, classified the picture as a legitimate hit, stating that \"John Alton, who also contributed to the picture's scenario, provides us with exceptional beauty in his photography, exteriors of unparalleled amplitude never captured by our industry, and his well-lit interiors as well.\" Among the praiseworthy comments from foreign language newspapers is this statement from Guion: \"Alton's photography and technical work place 'El Matrero' among the best of American films.\" The photograph of the director of photography lends added emphasis to the comment. The Institute Cinematografico has selected it.\nThe book \"El Matrero\" was selected to be sent to the Venetian motion picture exhibition as an authentic document on gaucho life.\n\nNew Paths in Photography. By Andreas Feininger. American Photographic Publishing Company, 353 Newbury Street, Boston. 47 plates. Size, 10 inches.\n\nThis is a book along different lines. It begins with the statement that although \"the camera does not lie,\" a statement that appears to be true, nevertheless, the decision of what to take and how to take it lies with the person operating the apparatus. The truth of the picture taken depends on the operator's conception of the subject photographed. The author states that perhaps the most potent law is the elimination of the superfluous. \"As soon as this creative quality of any branch of art, graphic or other, is properly understood, the elimination of the superfluous becomes the first essential.\"\nThe author notes that the creation of a new image of a familiar subject or a new pattern from familiar objects opens a wide field for independent artistic work. Photography enters this field as naturally as any other graphic art. The author emphasizes that photography and painting should not be confused. \"The absence of color in photography has been a weak point only for weak followers of this graphic art since its invention,\" he declares. \"The degree of translation achieved through the photographic process should be considered an element of strength.\" The book is divided into chapters titled \"Creative Elements in Photography\" and \"Technique of Graphic Improvement,\" the latter of which is further divided into \"Di-\".\nProjection, Negative prints, Negative on Diapositive, Granulation and Solarization. There are nude studies, for instance, showing clearness in line and form, with a second showing a sketch of the same figure limited to a single line with entire suppression of detail, as the simplest means to give the strongest effect. We have had Plate 1 and 9, as indicated, and then in Plate 15 \"figure in darkness.\" It displays the mystical charm of black and white achieved by reversal to a negative. The technique is enlargement from a reticulated positive transparency. The following plate shows a negative on a positive, moved out of register, and projected together on a transparency plate, which is again enlarged on hard paper. Photographs are taken of leaves and feathers, analysis is made of gothic architecturals, of the dematerializing effect.\nThe problems in the text are minimal. Here is the cleaned text:\n\nThe problems are solved by the reversal of lights and darks, the intermingling of light and shade, the positive and negative. In fact, enlarging a positive transparency to make a negative image brings a multitude of strange results.\n\nJohn Alton Brings in Another Argentine Hit\n394 American Cinematographer \u2022 September, 1939\n\nAgfalite's New Portable Has Great Flexibility\n\nThe Agfalite, a new and ingenious piece of lighting equipment, has just been introduced by Agfa Ansco Corporation to solve the lighting problems experienced by many photographers. A radically different type of lighting unit, the new Agfalite is a valuable piece of supplementary equipment for professional photographers and is also excellent for amateur use in both still and motion picture photography.\n\nIts ease of manipulation, its effectiveness in providing light from high angles, and its compact size make it an indispensable tool for photographers. The Agfalite is a portable, battery-operated, flashlight-type unit, which can be focused and adjusted to provide a soft, diffused light. It is particularly useful for still life and portrait photography, as well as for motion picture work where a portable, adjustable light source is required.\n\nThe Agfalite is constructed of lightweight aluminum and is easily carried in a small case. It is equipped with a rechargeable battery, which can be recharged by plugging the unit into an electrical outlet. The unit also has a built-in reflector, which can be adjusted to focus the light in any direction.\n\nThe Agfalite is available in two sizes, the Model A, which has a power output of 150 watts, and the Model B, which has a power output of 300 watts. Both models are fully adjustable and can be used with a variety of light modifiers, such as softboxes and umbrellas.\n\nThe Agfalite is an important addition to the equipment of any serious photographer, whether professional or amateur. Its versatility, compact size, and ease of use make it an essential tool for creating high-quality photographs in a wide range of lighting conditions.\nThe Agfalite's low levels and compactness for transportation in its sturdy steel case are outstanding qualities that will appeal to every photographer. An important construction feature of the new Agfalite is a pantograph mechanism which allows it to be set up and adjusted on a moment's notice. The pantograph is anchored to the base of the carrying case and provides an extensible support for the lights and reflectors so that they may be placed at any position up to 94 inches above floor level.\n\nBecause of a built-in counterpoise spring mechanism, it is not necessary to fasten or secure the pantograph at the desired height, for it remains at the selected position. Further vertical adjustments can, of course, be quickly made by moving the lights up or down to a new position.\n\nThe Agfalite is equipped with two lights.\nSockets are mounted independently on sliding bars at the top of the pantograph mechanism to permit horizontal adjustment of the spacing between the two lights. The distance between the centers of the lamps can be varied from 11 to 36 inches.\n\nThe Agfalite is designed to take No. 2 size floodlamps and is furnished with two adapters to permit the use of No. 1 lamps as well. Reflectors are of a special design to promote even distribution of light.\n\nOther mechanical features of the Agfalite include caster supports that fit the base of the unit to make it easily moved across floors, an approved underwriters cord with separate outlet plugs, and a diffusion screen that can be attached when softer lighting is desired.\n\nThe unit is supplied in brown crackle finish with pantograph and caster frames in nickel finish. It is U.S.A. made and available through photographic dealers.\nThe Kodak Special Six-16 will be available in early August, priced at $25, with the Supermatic Shutter. This new precision-built Kodak Supermatic Shutter comes equipped with the Kodak Anastigmat Special f/4.5 lens. Previously only available on the Kodak Special Six-20, the Supermatic Shutter features a gear train self-timer and speeds of T, B, and 1 sec. Constructed with the accuracy of a fine watch, the Supermatic maintains its indicated speeds accurately through a wide range of temperature conditions, thanks to a new type of shutter lubricant. The distance between lights varies from 11 to 36 inches, and the elevation can be up to 94 inches. Developed in the Kodak Research labs.\nLaboratories. Perfectly finished, it harmonizes with the other fittings of the de luxe Specials. Equipped with Kodak Anastigmat Special f/4.5 and Supermatic shutter, the Kodak Special Six-16 will retail at $43 without case; $45.75 with case.\n\nA new Kodak home lighting guide for Super-XX Film is of interest to moviemakers and users of still cameras. This device, a pocket card guide with a movable dial, offers complete data for indoor shooting by ordinary room light, from 60 watts to 400. It covers light-to-subject distances of 12 feet down to 2 feet; lens apertures f/2 to f/22; \"still\" exposures of 1/50 second to 64 seconds, and both normal and half-speed for movie cameras. This kodaguide will retail at 10 cents.\n\nAgfalite all packed in case and ready to go.\n\nSeptember, 1939\nAmerican Cinematographer 395\n\nWhen the Critics\nThe Eastman Kodak Company commends and praises the photography of Bardwell & McAlister of Hollywood. They have obtained the best lamp for their fifty stores in the United States and Canada by securing an arrangement with this company. The Baby Keg-Lite, which weighs only twenty-five pounds and is easily handled, will be distributed beginning immediately. The stand reaches up to 8.5 feet and uses 500 or 750-watt globes with a medium bi-post base of type T-20 or T-24.\nThe Foco-Spot is an optical accessory that fits in the diffuser clips of the baby Keg-Lite. Its purpose is to develop a concentrated beam with sharp edges, either round or rectangular. A revolving disk with several sizes of round apertures, at a distance of 15 feet, provides brilliant circles of even light in Blaisbell sizes from 3.5 feet to 7 feet in diameter. Rectangular shapes are obtained by four sliding mats; these rectangles may be rotated to suit the object. For concentrated high lights, special shadow and silhouette effects, the Foco-Spot is said to be an ideal photographic tool.\n\nAs an accessory to the Foco-Spot, a background slide may be purchased at a slight additional cost. Original designs may be drawn or painted on it.\nGlass slides are projected onto the background. Portrait and commercial photographers using the Foco-Spot insist it has opened a new field of portrait possibilities. The intensity of the light beam remains the same regardless of the aperture used. With the Baby Keg-Lite, a slight pressure on a conveniently accessible control instantly spreads the beam to any desired angle, from a 4-degree spot to a 50-degree flood. A calibrated scale, giving focusing arm position, enables the duplication of any desired lighting effect. This unique device allows shadows, colors, and light quality to be compared, studied, and analyzed in a manner hitherto impossible. This is an exclusive feature with patents pending. The light output of Baby Keg-Lite is three times greater than the average photographic light of equal wattage.\nThe field is clear and even at any degree, from spot to flood. Prices for the lamp and accessories are as follows: Baby Keg-Lite with double riser collapsible stand, 25 feet of rubber-covered cable and plug (without globe), $55; Foco-Spot attachment with rotating disk and adjustable mats, $25; background slide (Left, Foco-Spot; Right, baby Keg-Lite and Foco-Spot attached). Baby Keg-Lite, lamp stand, and cord with five clear and one heat-proof glass slides, $2.50; globe used in Baby Keg-Lite, 500-watt T-20 clear C-13 medium bi-port globe \u2013 either M. P. 3200\u00b0 K. or C-13 medium bi-post globe, either M. P.\n\nBardwell & McAlister, Inc., was formed in 1932, seven years ago. Both members of the firm were actively working in the trade when they quit to become partners. Cecil Bardwell started with Universal.\nIn 1914, he helped William (Bill) Horsley build that institution, along with others, when Universal started to grow. For a time, he was in the special effects department. In September, 1923, Bardwell & McAlister, Inc., built up one of the largest rental equipment agencies on the west coast. They are recognized as leaders in incandescent equipment. One of the principal reasons for the success of the new lamp is its instant focusing device. Elmer Fryer remarked on one of the pictures he made with Bette Davis that to get such a picture as he secured of her, he would ordinarily have been compelled to work at least two hours, what with getting the lights just so \u2013 a matter which would have been impossible, as she would not have been a party to it.\nOne leading factor is that it has been proven effective for both black and white individuals. The lamp has been equally proven for color use, and it will be featured in every phase of commercialism by Eastman. One of Miss Davis' portraits shown here will be displayed in all Eastman stores in the United States and Canada. Additionally, these same diagrams will be available for any photographer interested in learning how these remarkable results were achieved.\n\nHere is a reduction of a 16 by 20 portrait of Bette Davis as she appeared in Warners\u2019 \u201cThe Old Maid.\u201d The accompanying full-page schedule and diagram show how Photographer Elmer Fryer secured these results.\nThe photographer accomplished remarkable portraits. In one instance, he remarked that it would not be unusual with his ordinary lighting facilities to have required two hours to get his subject where he wanted her - everything precise. In the present case, four minutes were required.\n\nHe became assistant chief electrician of Universal and remained with that concern until he received a tempting offer from Harold Lloyd.\n\nTwo Generators for Start\n\nFrom there, he went with General Service, with which company he remained as chief electrician until this spring. It was in 1932 he formed a partnership with McAlister.\n\nJohn G. McAlister also started as an electrician in Universal in 1914. He was one of the first to build an electric generator that was mobile. In the late 20's, he built a mobile generator he rented to studios. It may be added he became a partner with McAlister.\none of the leading authorities in the country on mobile generators. In 1932, he took Bardwell as partner and started in business. The only assets they had in a book way were the two generators. In the seven years they have been in business:\n\nWest Coast Studios\nBurbank, California\nBardwell & McAlister, Inc.\n7636 Santa Monica Blvd.\nHollywood, California\n\nGentlemen,\n\nIn compliance with your request, I am pleased to provide you with the following lighting diagram and details of the full-length portrait of Bette Davis as she appears in a costume from her forthcoming Warner Bros. production, \"THE OLD MAID.\"\n\nFILM: Eastman Super XX\nPAPER: Eastman Opal G\nLIGHTS: Five B 4 U Baby Keg-Lites and one Foo Spot.\nEXPOSURE: f-11\nTIME: 1/5 second\n\nBardwell & McAlister, Inc.\nPage 2.\n\nDIAGRAM\n\nLight #1: Placed on the floor, tipped up to an angle of\nLight is about 30 degrees with focusing device at full flood. Light #2 is placed on the background at a height of about 10 feet, focusing device at full flood. Light #3 is placed on the floor behind the sofa at full flood, lighting the background. Light Hi is placed on the floor, focused at full flood, heavily diffused with silk, lighting the train of the dress. Light #5 is placed 8 feet from the subject. It is equipped with a Foco-3pot attachment\u2014 focusing lever set at 3\u2014 small iris full on face and veil. All lights used were Bardwell 4 Mallistkr \"Baby Xeg-Idtes,\" burning 750 watt C.P. globes.\n\nGentlemen:\n\nBardwell 4 McAlister, Inc.\n7636 Santa Monica Blvd.\nHollywood, California\nIn response to your request, I am pleased to provide you with the following lighting diagram and details of the three-quarter length portrait of Betty Davis for her forthcoming Warner Bros production, \"THE OLD MAID.\"\n\nFILM: Eastman Super XX.\nPAPER: Eastman Opal G.\nLIGHTS:\nFour B 4 II Baby Keg-Litas and one Foo Spot.\nEXPOSURE:\nTime: 1/5 of a second.\n\nAll lights used were Bardwell 4 Molister \"Baby Keg-Litas,\" burning 750 watt C.P. globes.\n\nLight #1: At a height of 6 feet, focused at full flood, highlighting veil and side of the face.\nLight #2: Placed back of background about ten feet high, focus set at f/3.\nLight #3: Height\u2014 6 feet, focused at full flood.\nLight #4: Placed as near the camera lens as possible and about 6 feet high. Equipped with Foo-Spot attachment\u2014 focusing lever at 3\u2014 using round aperture full on face.\nElmer Fryer, September 1939, American Cinematographer 399\n\nOne Camera \u2666\u2666\u2666\nIncludes everything you have wished for \u2014 Silence - Accuracy- Convenience\nCAMERECLAIR-\nUsed by leading studios in Great Britain, Europe, and India\n\nFearless Camera Co. . 8572 Santa Monica Blvd., Hollywood, California\nW. F. Dormer, Ltd. . 14 Edgeworth Ave., London, N.W.4, England\nPhoto Cine Sound Agencies, Ltd. . 204 Hornby Road, Bombay, India\n\nManufactured by\nEtablissements Cinematographiques\nECLAIR\n12 Rue Gaillon, Paris (2e)\n\nStudios, laboratories and camera works in EPINAY-SUR-SEINE\n\nStupendous though they may be, entirely too much attention has been devoted to extolling current World Fairs. Judging from the photographs by the Writer, however, the Paris Exposition International des Arts et Techniques dans la Vie Moderne is a must-see event.\nFrom endless publicity releases from both fronts and special fair editions sponsored by many publications, one might be led to believe that the entire population of the country, as it were, must be migrating eastward or westward or both.\n\nTruth of the matter is that only a small percentage of the total populace will see both fairs. Only part of this group will carry still cameras and even fewer will take movies.\n\nOf far greater interest to most small towners of limited means, including those everyday folk who neither have the time, money nor inclination to journey far, are the more modest fairs \u2013 the state fairs, the county fairs, the home town carnivals and special celebrations which regularly invade every little hamlet.\n\nHere you will find neither Trylon nor Perisphere. Each small-scale Treasure Island and each Flushing Meadow will hold its own charm.\nEvery fair, no matter how small, has its prize-winning exhibits, proud displays, midway side shows or carnival Ferris wheels. Some sections of the country have special celebrations. For instance, Bell Fourche has its Round-Up, Hot Springs promotes a Water Carnival, Deadwood boasts of its Days of '76, Spearfish puts on an Air Fair, Custer claims its Gold Discovery Days, while Mitchell constructs its Corn Palace. Similar stunts are undertaken in other states.\nAt Belle Fourche, for example, downtown streets are barred from all traffic to provide convenient locations for merrymaking concessions. Octopus arms and the Ferris wheel spin crazily overhead, while Redskins and white folks swing into their hectic street dances, drowned out only by the yipping of fun-loving natives.\n\nFor three days and three nights, the town works itself up into the sort of frenzy which provides interesting photo fodder. In many other localities, historic pageants and colorful parades offer Kodachrome a wide berth.\n\nSince people make any fair, you will probably concentrate much of your shooting on closeups of the personalities you find. Naturally, these should never be posed. Instead, carry your camera about inauspiciously and seek candid, surprise footage. For this type of filming, tripods will betray you, but this does not mean you cannot use a monopod or stabilize your camera in other ways.\nAll shooting must be done with an uncertain, hand-held camera. Lean your outfit against the side of a building or atop a corner post or hold it firmly against a tree for sturdy support. If you plan any bird\u2019s-eye angle views looking down upon the fair grounds, prevent the danger of a lens spill by securing your camera to your wrist with a leather leash. Telephoto lenses of medium length are also useful for obtaining intimate closeups of wide-eyed youngsters and tired, foot-weary oldsters. Where long-focus lenses are used, however, a tripod is most necessary to prevent jittery pictures. Candid group scenes can often be taken by \u201cunder-arm\u201d methods. Simply tuck the camera nonchalantly under your left arm, after having pre-set focus and aperture, walk into the scene action, fold your arms in front of you.\nOperate the exposure button calmly with the right hand's thumb or forefinger. If wearing a topcoat, insert the left hand into the left pocket, grasp the camera firmly through the coat lining, and shoot from hip level. These methods are equally effective for filming detective footage for courtroom evidence. No movie maker should exceed reasonable bounds to secure candid stuff.\n\nSince most fair filming requires much footwork, travel light and avoid overburdening yourself with extra gadgets unless essential for filming. Carry the camera in your hand, without a carrying case. If using monochrome stock, keep the 2x yellow filter on the lens, removing it only when not needed. Carry sufficient film and remember the tendency to overshoot. If you have spent some time preparing.\nIf you plan your fair reel in advance, you will have a pretty good idea of how much footage will be needed altogether. Probably 400 feet of 16mm., or equivalent in 8mm., will cover all angles.\n\nCarry Enough Film\nIf you plan to dig beneath the fair highlights, you may require 800 feet or more. The best bet is to carry a little more film than you plan to shoot, for nothing is more disconcerting than to run out of film just when the clicking is best.\n\nThe method of carrying extra reels and other accessories may cause a little anxiety. The empty camera carrying case, for instance, might be loaded and strapped to the shoulder. A small packsack, which can be swung over the shoulder or back, is a better option.\n\nTwo months ago, the writer used such a pack for conveniently housing flashbulbs as well as film on a two-hour hike down into Wind Cave in the southern [region].\nSeptember, 1939 \u00b7 American Cinematographer 401\n\nThere are several ways to introduce a fair reel. The easiest method might be to fade in on a long shot of billboard artists pasting up the first notice of the fair. Or show a couple of blistered hands tacking up a colorful advertising card. Either of these shots could be taken from a parked car with the motor idling. When the inscription is fully read, the car starts up slowly and the camera begins to move during the fade-out.\n\nThen adjourn to your darkroom \u2013 unless your camera is equipped with a wind-back \u2013 and wind back the film for the duration of the fade, creating a dissolve by fading in on a moving shot showing a car approaching the fair grounds.\n\n(Special note: Several popular make cameras can be rebuilt with \u201cwind-back\u201d)\nRieschl-Emerick Laboratories, Inc., 303 Loeb Arcade, Minneapolis, MN rebuilds 8 mm Filmos for $19.95. Baia Motion Picture Engineering, 8044 Hardyke, Detroit, MI equips 16mm Cine-Kodak Model K with wind-back for $25.\n\nAngle up for a near shot of the fair's name and then come in for closeups of tickets changing hands, feet moving, and turnstiles spinning.\n\nIf weather permits, hire a barnstorming aviator to take you aloft for a few sweeps over the fair grounds for a unique introduction. Such a wide angle glimpse will show the entire layout; then you simply glide back to earth and shoot the highlights from the ground.\n\nCover the commercial exhibits as briefly as possible, allowing more footage for prized displays entered by local groups. If photofloods are needed to light inside displays, do your filming in them.\nEarly morning before the crowds arrive. Step well inside a building and frame shots of visitors entering.\n\nLeft \u2014 A high vantage point is helpful in covering wide areas. Here, Belle Fourche, S.D., streets are filled with concessions to amuse guests at 1939 Black Hills Round-Up.\n\nRight \u2014 A telephoto lens could be used here to pick off individual members of the crowd below. Street dances and wild merry-making add action and color to fair and carnival filming.\n\nAnd leaving. Poultry and livestock exhibits are usually housed in bright surroundings, where close-ups can be taken with fast lenses without need for extra lighting.\n\nLunch-time, with its hot dogs and pink lemonade, will furnish endless possibilities for candid, unposed studies. Sit down under one of the concession tents and place your movie camera on the table.\nThe ferris wheel is the chief carnival attraction, most photographically pleasing after dark. Sit by a table, point your camera at an interesting character across the way. Estimate the distance, adjust the lens setting, and press the exposure button while you gulp and guzzle. You will be surprised at the results.\n\nThe midway with its amusement centers will capture much of your fair footage. Here you will find action and thrills aplenty. Barkers, medicine men, bearded ladies, the boy with the revolving head, trained animals, Ripley's freaks - these are only a few oddities you can film for your back-home audiences.\n\nAnd then there are the thrill rides - the Lindy Loop, the Octopus, midget racing, and, of course, the ferris wheel. Choose your high spot.\n\nAfter you have covered some of these.\nPick a good concession, choose a thrilling ride, and do your action shooting from a dizzy height or angle for extra hair-raising thrills. At sundown, all concession lights switch on, and the combination of artificial illumination and natural outdoor light produces weird-looking pictures. Color silhouettes of barkers, crowds, odd structures and statuary, taken from a low angle against the western sky, will result in beautiful effects. If your local fair features auto or horse racing, reserve a spot for track movies in your special film. Arena tags are sometimes granted to bona fide photographers and worthy amateurs, and these will permit you to take ringside close-ups of the preliminary preparations, well out of range of the grandstand spectator. When the starting gun pops, you should be up under the roof of the grandstand.\nStand shooting down on the whole track right over the heads of spectators. The sheltered stand will serve as a giant sunshade, and the artistry will be that of unique framing beneath the eaves. A telephoto lens and a fairly high vantage point will enable you to follow 402 American Cinematographer September, 1939 This neon cow was an unusual exhibit at a recent Minnesota State Fair. Such night shots make fair filming an even more interesting pastime. The beat of hoofs or the roar of motors around the speedway. You may wish to drop down to track level and shoot fence-line close-ups as the speeders race by. And if you are looking for spills, you should seek a location on one of the turns where most upsets occur. Quite often, one day of Fair Week will be set aside as Thrill Day, when antiquated locomotives or motorcars are featured.\nDaredevils roared headlong at each other, crashing and exploding before the horrified eyes of grandstand ticket-holders. Daredevils plunged autos through flaming walls, while multiple parachute jumpers leaped earthward from unseen heights, marking their course with trailing flour dust. At most every fair, you will find at least one high-diving horse or hound.\n\nFireworks display\nThe fireworks display before the grandstand at night will cap the events of the day. For most of your after-dark filming with Type A Kodachrome, use your camera's widest aperture, preferably around f/1.9. For giant pyrotechnics, pull back for a distant view, but for individual sky rockets and bursting bombs, follow the flickering tail of the rocket with your telephoto right up to the bursting point. If there are bystanders on the ground, silhouette them between the explosions.\nWhen editing footage, consider the tempo of your film based on scene length. Longer scenes, such as general scenics, views of buildings, people, and exhibits, should not run too long. Shots taken at amusement grounds, where action is fast and furious, may require shorter clippings. Title-writing can be minimized by filming near signs and other inscriptions on location. If wording is too long for a normal title, expose two or three frames. After processing the film, make a frame enlargement or project the single frame onto a screen for close study, then reduce the reference title to normal length for inclusion in the finished film.\nShooting a few movie frames or employing a minicam for title study purposes is more efficient and accurate, and less time-consuming than ordinary notebook scribbling.\n\nGeorge Barnes, ASC, was awarded the Hollywood Reporter's poll of the critics' approval for photography on \"Stanley and Livingstone.\" The second for the month of July was to Theodor Sparkuhl for \"Beau Geste\" and Tony Gaudio for \"The Old Maid. Four other awards were given to the same picture. They were for the best picture, for the best director, Henry King; for the best actor performance, Spencer Tracy, who had the leading part, that of Henry M. Stanley, and for the best screenplay, Philip Dunne and Julien Josephson. Sir Cedric Hardwicke, who sustained the part of Livingstone, was beaten out for the best supporting actor.\nPerformance by Brian Donlevy, who portrayed the brutal sergeant in \"Beau Geste.\" The screen credits mention the men composing the safari who went into Africa, leaving Hollywood in June 1937. Among others were named Otto Brower, the director, and Sidney Wagner, A.C.S., photographer. The safari consisted of a couple of hundred natives, as well as three score natives acting as personal servants. It was one of the largest expeditions ever sent out to represent a motion picture. One local Hollywood paper stated the safari cost $400,000, about sixteen times as much as it cost Stanley on his original trip. Practically 100,000 feet of raw stock was exposed in the trek from Nairobi to Ujiji, on Lake Tanganyika, and return.\nThe nearly hundred thousand feet of film, shipped from Nairobi to London by air, to New York by ship, and thence by air to Los Angeles, arrived in perfect condition as shown on the screen. The photography was beautiful.\n\nThe raw stock or original film was all in sealed tins within tins and vacuum packed. Following exposure, the film was dessicated or dried for twenty-four hours to free it from humidity or moisture. Then it was sealed and waxed and placed in double tin containers and carefully sealed for shipping. Every precaution was taken; the sealing was so tight that no air could penetrate.\n\nLawrence of England Visits Ampro Factory in Chicago\nR.G. Lawrence of Bristol, England, representing Messrs. M.W. Dunscombe of Ampro Sales, has been a recent visitor at the Ampro factory in Chicago.\nMr. Lawrence visited the United States for the first time in September 1939, intending to acquaint himself with the personnel and business methods of the Ampro company. President Monson of Ampro wrote, \"We are convinced that through the efforts and cooperation of our English distributor, all Ampro products will become even more widely known throughout the United Kingdom.\"\n\nIn Hollywood, the cameraman shouts \"Lights!\" when photographing a big set. This call may be answered by a blaze of illumination from fifty, seventy-five, or more modern, efficient lighting units. Once they are on and the cameras are rolling, the cameraman's worries about the scenes are, fundamentally speaking, over.\n\nIn the studios of my native country, India, even on the biggest sets, the lighting is different.\nThe two most active film production centers in the world today are India and Hollywood. In India, over two hundred feature pictures are produced every year.\nSome of them running 14,000 to 15,000 feet in release length. When it is considered that these productions must be made on small budgets, and with inadequate equipment and production resources, the real magnitude of the Indian cinematographers\u2019 achievements may be appreciated.\n\nAs I have said, once the lights are on and the camera rolls, the Indian cinematographer\u2019s worries are just beginning. Insufficient lighting equipment is only one of the things that worry him. He knows, for instance, that his lighting equipment may be inadequate, both in numbers and in efficiency, to make the shot. In addition, he may have to work with a lens which, according to modern, Hollywood standards, is far too slow.\n\nIn general, he must make his pictures without many of the things which his fellow cinematographer in Hollywood would consider absolutely necessary.\nIn all of India, there are approximately twenty-five stages, owned by nearly as many companies. Most of these studios are quite active. While some companies have the good fortune to have several stages of relatively modern construction, some others may have only one stage \u2014 and sometimes that is not even soundproof, though no company in India produces silent pictures today.\n\nRegarding equipment, the lights are very poor, and the photographic equipment is by no means elaborate. The average studio has a total of not more than 50 lamps, and not all of these are photographic lamps.\n\nA.J. Patel, F.R.P.S., F.R.S.A., Chairman Photographic Society of India\n\nThe most popular camera is the Bell & Howell, though recently some studios have begun using others.\nWe have acquired DeBrie's \"Super Parvos.\" It will likely surprise Hollywood cinematographers to discover that there is not more than one dolly and one Indian-made camera-crane in the entire country. Between this and the inadequate lighting facilities, it is no wonder that dolly shots are seldom made.\n\nProduction System Lacking\n\nMotion picture production in India is not as well systematized as it is in Hollywood. Most stories are written or selected by the director, and the scenario is not written in finished form. There is no research or technical department; India's producers have never found the importance of having any. Yet when an American or British producer makes pictures, apparently in India, which contain technical inaccuracies, we in India are prone to complain of what we term \"insults\" to our native customs and culture.\nAfter serving as a research advisor during the making of Twentieth Century-Fox\u2019s \"The Rains Came,\" I can appreciate the efforts reputable Hollywood producers take to obtain realism and authenticity in their pictures. Most inaccuracies in depictions of India in major-studio films can be traced to the simple fact that India and Hollywood are many thousands of miles apart, making it difficult for Hollywood's major studios to obtain the aid of people intimately familiar with the thousand-and-one details of India's local customs and usages. I am sure that if any Indian producer attempted to make a picture laid in America, film audiences in America could spot as many anachronisms as we in India complain of in American-made \"Indian\" films.\nWe make as many scenes as possible outdoors with natural light in Indian production methods. No artificial lighting has been used on locations up to now. In most instances, our outdoor sets or real buildings are used as they are, with no changes. Fortunately, India has good sunlight most of the year, so weather is no particular hazard.\n\nProduction is often delayed because this or that is not ready at the proper time. Sometimes the whole company is ready to go, and then discovers that the chief players are late or entirely absent! Companies working on unsound-proofed stages find it necessary to \"shoot around\" background noises or even work at night in the hope of having things quieter. It is not surprising that the average production is delayed.\nThe production of a picture takes approximately four months. The camera is operated by the first cameraman; there is no system for having separate camera operators. However, there is one or two assistants who may or may not be considered skilled help. They assist with everything from loading the camera to arranging the lights. Working at odd hours, dealing with settings, costumes, and other elements that are often left to chance, with indifferent equipment and unskilled helpers, the Indian cameraman must exercise endless patience and ingenuity to get his picture finally recorded on film. He then turns it over to the laboratory and trembles, fearing that at this last stage of the process, things may still result in disaster. It may seem incredible to Hollywood-trained cinematographers that fully half of the Indian motion picture industry operates in this manner.\nStudios still use the old rack-and-tank system of processing. Yet it is true. This is not the worst situation. Though India is a tropical country where high temperatures can be expected, processing temperatures are in many cases controlled merely by adding ice directly to the solution.\n\nAlways Fighting Dust\n\nPerhaps it dilutes the solutions, the laboratory folk will admit, but it is cheaper and simpler! Again, there is seldom any provision for freeing the laboratory from the ever-present dust \u2013 and this, too, forms a hazard in the struggle to get a really good picture to the screen.\n\nIn this connection, let me say that these conditions exist in spite of strenuous efforts made by the technical representatives of the raw-film companies to show the Indian technicians and their employers the advantages of using more modern methods.\nIn spite of modern methods, the issue of misunderstanding between workers and proprietors is rampant in many Indian studios and laboratories. This problem, to some extent, exists in most industries worldwide. However, it reaches its highest power in India.\n\nIt is challenging to help a man understand technicalities if he does not recognize the difference between good and bad pictures, especially if he is in the picture business not for any interest in art or showmanship but merely to make money quickly and easily.\n\nThe average Indian picture costs approximately $25,000 and generates good profits.\nThe market for these pictures is restricted almost exclusively to India and a few other countries with large Indian populations. The language question is a very serious problem, as India has about twelve provincial languages and enough local dialects to make a total of some 300 languages and dialects spoken by India\u2019s population. These are so different that the people of one village may very likely be unable to understand the speech of a neighboring village! At present, pictures are produced in eight different languages. The Eastman Kodak Company, Rochester, has announced a new Cine-Kodak Eight Super-X Panchromatic Film. This new 8mm film is three times as fast as regular Cine-Kodak Eight \u201cPan\u201d Film and surprisingly fine-grained.\nPicture-taking by artificial light is almost as easy as outdoor filming in sunlight. Actors on theater stages, boxing bouts in flood-lit rings, these are readily filmed with Super-X \u201cPan.\u201d Each tongue, it is not likely that the industry can develop on a larger scale until India has one language and pictures are all made and understood in that language. Technicians Enthusiastic Yet, despite these handicaps, and the greater one that India's cinematographers and other technicians must be almost wholly self-taught, India has little lack of capable technicians. More importantly, they are brimming with enthusiasm for their work, earnestly striving to make it better and improve their country's films. In this, infinite credit is due to India's cinematographers, for even though they are working under the challenges.\nThe handicaps of inadequate equipment and insufficient resources don't dampen their patience and enthusiasm. In many cases, they create pictures that are no inferior to those made in Europe and England, where equipment and resources are vastly more ample. German Studios Well Equipped\n\nAfter leaving India, the first foreign studio I ever saw was the Ufa Studio at Neubabelsberg in Germany. This is a remarkably fine, big plant, situated just a few miles out of Berlin. In its time, it has probably produced more of the world\u2019s outstanding films than any studio outside of Hollywood.\n\nThe Ufa Studio is the greatest film producing concern in all of Europe. There are about 2000 people engaged there in normal work. The studio itself covers an area of 116 acres, and all types of pictures are produced there, including not only screen productions but also those for television.\nThis studio has 22 stages, ten of which are soundproof. The layout is so spacious and complete that it could easily be mistaken for a Hollywood plant. There are over 250 dressing rooms, which can accommodate approximately 2500 players at once.\n\nFor outdoor sets, Ufa follows the Shots indoors. Night scenes can now be filmed with the light of one Photoflood bulb instead of three. Football fans with 8mm. cameras will welcome the new film for this year's gridiron activities, particularly for fourth-quarter action in the dimmer light of late afternoon.\n\nCine-Kodak Eight Super-X \u201cPan\u201d offers both speed and fine grain, yielding astonishingly clear, brilliant screen pictures. It will retail at $2.25 per roll, including processing.\nSeptember, 1939, American Cinematographer 405: EASTMAN SUPER-X PAN - Three Times as Fast\n\nKUHNE'S CAMERA RECORDS MARVELS FROM AIR\nBy Jack Kuhne, Expeditionary Cameraman, Twentieth Century-Fox Short Subjects\n\nAll illustrations are enlargements from 35 mm. film photographed for Magic Carpet's subject \"Good Neighbors\"\n\nIn a 50,000 Mile Air Trip to Make One Short Magic Carpet, Cameraman Flies to Elevations Over 25,000 Feet Securing Pictures of Prehistoric Mysteries.\n\nMaking the Lowell Thomas Magic Carpet of Movietone \"Good Neighbors'' was a satisfying experience. In the first place, it tied in with Secretary of State Cordell Hull's policy of open-handed friendliness toward our Latin American neighbors, which also happens to be the policy of the executives of Twentieth Century-Fox, led by President Sidney Kent and my direct superior, Producer Truman Talley.\nI. Charge of all our company's short subjects. If it hadn't been for the fact that in the midst of producing \"Good Neighbors,\" I was assigned by General Manager Edmund Reek of Twentieth Century-Fox Movietone News to cover the tragic earthquake at Chile, Chile, I would have counted this visit to South America as the most delightful assignment ever given me, and in search of Movietone material, I've roamed considerably.\n\nOnly four months previous to my South American visit, I was making pictures of Lapp life in the Arctic Circle north of Norway for a picture titled \"The Viking Trail,\" released last season as one of the Magic Carpet series. South America contains some of the most fascinating places in the world. You'll agree if you see \"Good Neighbors,\" to which I contributed negative from Argentina, Chile, and Peru.\nFlying 50,000 miles to make one short reel, the sequences from beautiful Rio de Janeiro and other north-eastern countries were made by the goodwill expedition from our company headed by Anthony Muto, Jack Kuhne (Washington D.C. supervisor), aided by Cameraman Fernando Delgado and Soundman Ben Box. Although this is but a single reel picture, it represents a lot of effort by both parties. I myself flew over 50,000 miles to make my scenes. The Muto party also covered considerable territory. Here is a brief itinerary of my travels: In the first place, I flew from Miami to Panama and thence to Lima, Peru. After working there for awhile for the \u201cGood Neighbors\u201d release, I got an urgent request to fly to Chile, Chile, to cover the disastrous earthquake that leveled that once beautiful Chilean city. It will suffice here to say I hope I\u2019ll be able to complete the coverage.\nI. Witnessing Tragedy and Unconquerable Courage in a Stricken City:\n\nNever have I been called upon to cover another such tragedy and witness a whole section of a population practically decimated overnight. The tragic sights I witnessed in that stricken city are indelibly engraved on my mind. But more so than the tragedies I witnessed was the unconquerable courage of the Chileans in the face of disaster. To see these gentle and loving people take over the task of reconstruction, even before the last tremors of the quake had subsided, renews one's faith in the general integrity of the human race.\n\nFlying 500 Miles with the Living and Dead\n\nFrom this scene of desolation, I flew as a medical aid to dying victims, back to Lima. On the way, two of these badly injured persons died. We flew 500 miles with the dead among the pitifully sick \u2013 a most horrifying experience. However, we managed to save fifteen.\nAfter finishing my work for \"Good Neighbors\" in Peru, I made a tour of Chile, working out of Santiago, and from there crossed the Andes by plane to Buenos Aires. The biggest thrill of my trip came in Lima after I had developed some still pictures I made on one of my flights. I was showing them to a group of professors of the University of Lima when suddenly one of the party let out a wild whoop and said: \"My God, here they are!\" I did not know what it was all about, but I noticed he was looking at one of my stills.\n\n\"Here's what?\" I said casually.\n\n\"Man,\" my friend answered, \"you've got pictures here of the mysterious unidentified flying objects.\"\nFor years, we have been looking for cones with giant mysterious markings. Cameraman Jack Kuhne noted these markings at an altitude, lines that cannot be distinguished on the ground. They are believed to date from a pre-Inca people and possibly be a calendar for reckoning time. Some cones in the Nasca valley in the Andes are twelve miles in length and entirely straight. The University of Peru is building an observatory overlooking the markings, where a body of astronomers will endeavor to recapture the period of time when these markings may have been of current interest. Cones crisscrossing and pointing here, there, and everywhere.\n\n\"So what?\" I said in my ignorant bliss.\n\n\"So what,\" said my friend, \"would you like to be a party to solving a mystery of the universe?\"\n\"If I can do it on one drink, okeh,\" I said. \"What's the catch?\" It then came out that what I had accidentally photographed had been the object of all sorts of archaeological expeditions, the pre-Inca cones. A Danish adventurer and miner named Captain Aage Salto had reported seeing these mysterious markings on a surveying flight, but had not thought them important enough to locate. They were about to be put down by the searching scientists as figments of the imagination when my pictures put them back in the running.\n\nTo explain the real significance of this rediscovery, one would have to be an expert archaeologist, astronomer, and mathematician. However, here goes. It seems these cones, some of them twelve miles in length, with lines as straight as if some giant had drawn them using a ruler, were pre-historic calendars.\nFrom these cones, an ancient pre-Inca race was supposed to tell the time of the year and forecast weather for planting. If this supposition is correct, then these ancients were as advanced in mathematics and astronomy as we are. They used the cones to chart the stars and constellations, and when they were traveling along the lines of the cones or meeting their points, it was significant in some presently unknown way.\n\nTo use these cones, it is further supposed, required a high knowledge of the heavens, of mathematics, and the use of (Continued on Page 408)\n\nSeptember, 1939 \u2022 American Cinematographer 407\n\nThese photographs are enlarged from the remarkable film entitled \"Good Neighbors,\" photographed by Jack Kuhne and released by Twentieth Century-Fox as a Magic Carpet number. In Peru, Kuhne's plane flew 25,000 feet and more in order to\nMount Huascaran, 22,180 feet elevation. For the first time, it has been under a camera for motion pictures. He shot El Misti, the giant crater at Arequipa, Peru. There is a thrill that rides in the holder in this sequence as the proximity of the wingtips to the sides is realized as the pilot drops below the crest. And of course, a touch would mean disaster, of loss without trace.\n\nThe pictures easily rank among the most dramatic shown upon the screen. Scenically, they are tops. Exposure and photography generally? Of course, there may have been superior ones, but this writer unfortunately remained at home that night.\n\n(Continued from Page 408)\n\nKuhne Records Marvels from the Air\n\ninstruments like the present-day survey.\nThe University of Peru is setting up an observatory on top of the Andes overlooking the Nasca valley to study transit phenomena and the sailor's sextant. Once their exact position on earth is determined, astronomers will work out the exact places in the heavens of the constellations for thousands of years until they find them traveling conical lines or matching points. If successful in this research, they expect to know the why and wherefore of these mysterious timepieces. An oddity about these cones is that they cannot be seen from the ground, yet are visible from the air. Perhaps Twentieth Century-Fox and I will go down in history as the discoverers.\nWho made a discovery that helped solve a universal riddle? I got a great thrill out of this and I'm making archaeology my avocation for the future. Five Mile Elevation To photograph Huascar\u00e1n I went back to my job and flew over Mount Huascar\u00e1n, the highest peak in Peru, having to attain over 25,000 feet to encompass the giant in the finder of my camera. This peak towers into the sky for 22,180 feet. My next conquest was El Misti, the giant crater at Arequipa, Peru. This slumbering bunch of violence hasn't blown in over a hundred years, but the last time it did, it spread ruin and desolation with its hot lava over an area of 100 miles in circumference. This is the first time this sleeping giant has ever been filmed for motion pictures.\nPictures, although it has been shown in stills, was an awe-inspiring sight to look into that gaping, jagged, steam-filled hole. I wished I had Father Hubbard along with me to explain its mystery and potentialities.\n\nFrom El Misti, after a few days\u2019 rest, we journeyed to the famous pre-Inca ruins at Macchu Picchu, Peru. Discovered in 1911 by ex-Senator Hiram Bingham, there are many mysteries attached to these remnants of a glorious past.\n\nThe pottery and tools found in the ruins show that these pre-Inca people were highly civilized and very capable engineers. One is bewildered by the size of the boulders used in the buildings and the masonry exhibited. The skill shown here can only be compared to that displayed by the builders of the Egyptian pyramids, and is said by many competent archaeologists to be equally impressive.\nThese ruins exhibit superior craftsmanship surpassing that of ancient monuments. The 100-ton boulders are so skillfully joined together that a magnifying glass is required to locate the seam. Such an accomplishment is beyond the capabilities of contemporary masons.\n\nThese ruins are situated along a mountain top ridge, which is almost unscalable. An earthquake is believed to be the cause, and one group of ruins, visible in the picture, are inaccessible. They precariously perch on a peak with a sheer drop of over 3,000 feet.\n\nHowever, it is a mystery why any community, which appears to have been heavily populated, would choose such an airy habitation without the use of wings. South America presents this enigma, and it is just as mysterious, if not more so, than the Sphinx.\n\nWhen we had gathered all we could on this matter.\nThe second South American mystery we flew down and photographed was the Chilean Lake section. Natural beauty that matches anything anywhere. The Argentine was the last stop on the picture-making itinerary. Macchu Picchu\n\nAs Lowell Thomas said in his absorbing description of the scenes shown on the opposite page in Twentieth Century-Fox\u2019s \u201cMagic Carpet\u201d: \"This was a great city in remote days gone by, before the white man came, before the Incas came. The famous ruins left by the pre-Inca people at Macchu Picchu. Now a scene of craggy desolation, but those remains of buildings show that this must have been a fair and flourishing land \u2014 with bountiful agriculture and terrace cultivation.\n\nNobody knows anything about the long-forgotten people who reared massive cities with extraordinary engineering skills.\nordinary  architecture.  They  built \nwith  immense  masses  of  stone, \nand  the  wonder  is \u2014 how  could  they \nhave  cut  and  handled  the  huge \nblocks?  Joined  without  mortar  and \nlaid  together  with  the  most  minute \naccuracy.  A  mystery  of  pre-his- \ntoric  civilization. \n\u201cOn  top  of  that  rocky  pinnacle \nare  the  ruins  of  a  town.  Inaccessi\u00ac \nble  ruins \u2014 you  can\u2019t  get  to  them. \nIt  is  believed  that  an  earthquake \nbroke  down  the  approaches  and \nleft  the  town  perched  there,  im\u00ac \npossible  to  reach. \n\u201cStrange  mystery  of  the  past. \nOur  South  American  Good  Neigh\u00ac \nbors  are  indeed  fascinating  neigh\u00ac \nbors.\u201d \nhustling,  bustling,  United  States  of  South \nAmerica  gave  us  many  excellent  se\u00ac \nquences  for  \u201cGood  Neighbors.\u201d \nThen  back  to  Lima,  to  Panama,  to \nMiami  and  home.  And,  although  I  love \nSouth  America,  there  is  still  no  place \nlike  home. \nCounty  Supervisors  Take \nPictures  of  Drunk  Drivers \nThe Pima County Board of Supervisors recently purchased a movie camera from the Martin Drug Company of Tucson, Ariz., for the purpose of filming drunken driving suspects. Shots are taken of the suspect being put through various tests \u2013 walking a chalk line, bending over and attempting to touch toes, closing the eyes and swinging the arms from an outstretched position at the sides in an arc so that the first fingers on each hand touch (try it), etc. This movie is then shown to the suspect in an effort to convince him that he might as well plead guilty \u2013 thus saving the county the expense of a jury trial. In case the suspect still wishes to fight the case, the movie is to be used as evidence. Charles Nielsen, manager of Martin No. 1, and who has developed the photographic department in his store from a few cheap still cameras to one of the most advanced motion picture equipment setups.\nThe largest and most complete departments of its kind in the Southwest convinced the Supervisors that the idea was practical by taking the first pictures personally and showing them to the Supervisors, law-enforcement officers, judges, lawyers, and members of the press. Now he is working hard on the city police force in an attempt to sell them candid cameras for all their patrol cars.\n\nSomeone has classified the performance as a documentary. And so indeed it is, one of the great documentaries of all time. It will be a sorry picture for Germany. It will serve as a damning indictment against the German Army in the first instance, as it is clearly pointed out that the verdict was the act of the army. The German people had no part of it.\n\nBut the great public which sees the performance will remember... (Continued from Page 390)\n[picture will not distinguish the army from the people. They will place the blame squarely on the head of the German man and woman who constitute the great German people. They will hate the German people for the unspeakable brutality that is put before their eyes. And the German people, as a people? They will not see this indictment of them \u2014 for nowhere where flies the German flag will any part of \u201cNurse Edith Cavell\u201d be shown. That, too, will be Verboten.\n\nSeptember, 1939 \u2022 American Cinematographer \u2022 Volume 41, Number 9\n\nPraise Comes for Camerawork\n\nThe box office strength of a star or featured player is to a considerable extent gauged by the volume of fan mail they receive. A rare few directors \u2014 men like Cecil De Mille or Frank Capra \u2014 and fewer producers \u2014 such as David Selznick or Darryl Zanuck \u2014 enjoy professional praise]\nCinematographers are \"box office\" favorites not only because they create successful pictures, but because the public is sufficiently impressed with their work to write them letters about it. Here, traditionally, fan mail ceases. Many people, even within the industry, cherish a mistaken belief that to the general public, technical workers like cinematographers are mere unknown, unnoticed names on long credit titles; that their work is so much a matter of purely technical routine that they never become personally known to filmgoers.\n\nCinematographers' Fan Following\nA single glance at the mail received by any major studio's camera department should dispel this misconception once and for all.\n\nDuring the months immediately following the release of any production unusually well photographed or made under unusual circumstances, the mail received by the cinematographer is heavy with fan letters.\nThe director of photography's box is filled with letters from people in various fields. From those within and outside the industry, his camerawork enhanced the dramatic value of the film, and from amateur and professional photographers and cinematographers worldwide, they saw potential answers to their photographic problems in his treatment of certain scenes.\n\nClyde De Vinna, A.S.C., upon returning from an assignment in Dutch Guiana several months ago, surprised his studio associates with the statement that it was not his association with one of the world's greatest studios that opened official doors for him, but rather that he was remembered as the man who photographed locally popular films such as \"White Shadows in the South Seas\" and \"Trader Horn.\"\n\nCecil B. DeMille, returning from a trip,\nA nation-wide lecture tour reported that to his amazement, the majority of questions asked him by his audiences were not about the personalities and private lives of the stars, but specific and technical questions as to how certain scenes were photographed.\n\nWanted: Technical Advice\n\nThis quest for specific technical information naturally centers in the cinematographer's mail. For instance, soon after the first showing of a production laid against a naval background, this magazine received a letter from a navy chief photographer. Knowing he was soon to be assigned to official cinematographic duties, he requested specific information as to how Arthur Edeson, A.S.C., had lit and filtered his seagoing shots and how he had worked aboard a battleship.\n\nAs this particular seaman was reporting for duty in San Pedro, a studio representative forwarded the letter to Edeson.\nA visit was arranged to permit him to get the necessary information directly from cinematographer Edeson. During the visit, this sailor - a veteran of nearly two decades' service in every part of the world - confessed a greater thrill at seeing and meeting the members of Warner Brothers' camera staff than he felt at the presence of some of the industry's most glamorous stars. In fact, half a dozen of the screen's reigning beauties passed by him unnoticed as he remarked in awe, \"Gosh, is that really Sid Hickox over there?\"\n\nWhen Dan B. Clark, A.S.C., photographs a film starring the Dionne quintuplets, his mail for months afterward is filled with letters from users of 16mm. and 8mm. cameras, asking how they can get comparably natural shots of their own children or how to light baby pictures without endangering the infantile eyes.\nAs Shirley Temple's perennial cinematographer, Arthur Miller, A.S.C., is kept busy answering similar letters. He does this with the help of his experience in making 8mm home movies.\n\nQ: About Filtering\nAfter a film like \u201cStagecoach\u201d scores success, amateurs turn to the cinematographer in question \u2013 in this case Bert Glennon, A.S.C. \u2013 for information on filtering. And let any unusual achievement in special-effects camerawork reach the theatres and men like Fred Jackman, A.S.C., Farciot Edouart, A.S.C., or Byron Haskin, A.S.C., find their mail full of letters asking if similar effects can be produced with amateur cameras.\n\nIn the same way, Elmer Dyer, A.S.C., and Charles Marshall, A.S.C., are plied with questions about aerial cinematography by everyone from first-time airline passengers to experienced army pilots.\n\nWith the rise of Kodachrome.\nTechnicolor veterans Ray Rennahan, A.S.C., and Howard Greene, A.S.C., have been frequently requested for information regarding sub-standard color filming. After the release of the Technicolor films \"Garden of Allah\" and more recently \"The Wizard of Oz,\" Hal Rosson, A.S.C., has been particularly grateful that his hobby is 16mm. movie making in Kodachrome.\n\nA Cinematographer's Fan Mail\n\nFor more detailed information on a cinematographer's fan mail, let's examine a brief cross section of the mail received by a typical ace cameraman.\n\nOne of the most significant recent photographic achievements is Warner Brothers' \"Juarez,\" photographed by Tony Gaudio, A.S.C. Through his courtesy, we are fortunate to quote from a few of the many letters he received from individuals within and outside the industry during the first few weeks.\nFollowing the release of that production, it is sometimes thought that a producer considers cinematographers somewhat in the light of a necessary evil - part of the studio overhead and helpful in the creation of glamour girls, but scarcely creative artists. On the day following the preview of \u201cJuarez,\u201d Gaudio received the following letter from a leading producer in no way connected with his studio nor concerned in the success of the production:\n\nDear Mr. Gaudio,\n\nPlease accept my congratulations on your brilliant job of photography on \u201cJuarez.\u201d I think it is artistically and dramatically one of the best the screen has ever seen.\n\nCordially and sincerely yours,\n\nDavid O. Selznick.\n\nSuch a spontaneous tribute from a competing studio's chief is significantly of the way the real leaders of the industry regard the members of their craft.\nFrom an Australian distributor came a letter, who during a studio visit had made Gaudio's acquaintance. He says in part: \"We have just had the extreme pleasure of previewing \"Juarez.\" I particularly want to congratulate you on the photographic effects you have obtained. Obviously, from the point of view of one who viewed the picture from an unbiased aspect, I do want to (Continued on Page 424)\n\nNew: Favorites\nEastman's three great new films back up their special characteristics with typical Eastman reliability and uniformity. Worthy successors to earlier Eastman emulsions, they are the new raw-film favorites of the motion picture industry.\n\nEastman Kodak Company, Rochester.\nAmateur Cinematography: Documentaries by James A. Sherlock\n\nSeptember, 1939, American Cinematographer\n\nAfter making a few personal pictures, most amateurs feel the urge to make a documentary film. This high-sounding title is attractive, but actually a documentary is a non-fictional film that tells a story. These films deal with reality, not fiction. It follows that there are many types of documentaries. Family, holiday, industrial, agricultural or historical subjects are most favored by amateurs who wish to make a documentary. The approach to which is as varied as the creative and artistic natures of different individuals.\n\nIn a previous article, suggestions for making documentaries were discussed.\na  family  or  holiday  film  were  discussed. \nThe  following  will  deal  with  industrial, \nagricultural  and  historical  films. \nIn  these  types  of  documentaries  it  is \nessential  that  \u201cthe  whole  truth  and \nnothing  but  the  truth\u201d  be  shown,  other\u00ac \nwise  the  film  will  fail  in  its  objective. \nUse  the  lens  of  the  camera  as  a  search\u00ac \ning  eye  of  an  inquisitive  stranger  want\u00ac \ning  to  learn  all  detail. \nThe  amateur  is  fortunate  in  that  he \nis  director,  cameraman  and  film  editor \nall  in  one.  He  can  arrange  for  unusual \nand  effective  lighting  that  will  make \nthe  most  commonplace  objects  include \nthings  that  are  not  cinematic;  he  can \nwrite  a  story  that  will  be  interesting  to \nthe  layman. \nIndustrial  and  Agricultural \nThese  stories  can  be  commenced  in \neither  of  two  ways.  The  first  includes  a \nvisitor  who  wishes  to  make  a  tour  of \ninspection.  If  it  is  a  serious  film  con\u00ac \nMake a tour with a notebook before writing the continuity for an unfamiliar temple or film with industrial or agricultural themes. This will enable you to write a continuous story and note the spots for closeups of visitors. These add intimate touches of humanity that help the audience unconsciously gauge the relative size of the setting and objects.\n\nThe first method for dealing with an industrial or agricultural film involves a visitor touring the film. However, the producer is entirely dependent on the visitor's ability to walk through the film without becoming camera conscious.\n\nThe second method is to write a story without a visitor's inclusion, but it must be a story from beginning to end, filled with atmospheric background.\n\nCostumes should be authentic for characters in \"Nation's Builders.\"\nTypes rather than actors should be chosen. Ground and many closeups should show detail and texture. If it is a clinical picture, show cause, effect, treatment, and cure if possible.\n\nIn some types of documentaries, such as mining or agricultural films, the camera could follow a workman throughout his working day. Industrial films are not hard to make if you have plenty of lighting equipment, a fast lens, and fast films.\n\nHistorical documentaries: Research is necessary before a scene can be attempted. If the making of the film coincides with celebrations being held to commemorate the founding of an institution, town, city, or nation, the filmsmaker will find many willing hands to assist. However, he would be well advised to do a little research himself. A visit or two to the local library will enable him to select a few episodes.\nwhich  can  be  handled  in  a  cinematic \nmanner  and  later  joined  together  by \ntitles  or  other  film  technique  then  added \nto  shots  that  are  to  be  had  when  any \nsuitable  pageant  is  being  enacted  as  a \ncelebration  of  a  past  event. \nWith  this  type  of  film  it  is  important \nthat  a  historically  correct  story  be  writ\u00ac \nten.  From  this  a  detailed  working  script \nis  made.  Divide  this  into  parts  which \ncan  be  filmed  in  one  day. \nTypes  rather  than  actresses  and  actors \nshould  be  chosen.  People  who  resemble \nthe  characters  they  are  to  portray  are \neffective.  If  it  is  a  statesman  that  is \nrequired,  choose  a  person  who  has  dig\u00ac \nnity;  a  doctor  or  lawyer  usually  is  suit\u00ac \nable.  If  it  is  a  farmer  that  has  to  be \ncast,  choose  a  man  that  is  used  to  han- \n414  American  Cinematographer  \u2022 \nSeptember,  1939 \nIndustrial  films  are  not  hard  to  make  if \nyou  have  plenty  of  lighting  equipment. \nLiving on a farm requires using farming implements, but do not expect your doctor friend to become a farmer overnight or your farmhand to have the dignity of a statesman. Costumes should be authentic. If you live in a city, that city most probably has a theatrical or fancy costume company that will hire period clothes. A wardrobe mistress can be of great value. Try to gain her interest and friendship. You will be surprised at the costumes she can find among the racks. Clothes that are a little the worse for wear are better than new ones unless it is a person of high rank who is being dressed. If it is required to make a costume appear worn, do not tear. Rub it between two bricks.\n\nLocations should not be chosen at random. Pay a visit to your local tourist bureau. These people not only advise about a holiday, but also know their locality exceptionally well and will provide valuable information.\nGive assistance if they believe your film might publicize the district. If these people fail, try the newspaper cameraman and the newsreel cameraman, as both groups are keen and know your difficulties. When a choice of locations is available, choose the one nearest home; valuable time can be wasted traveling. Directing is simplified if your players know what is expected of them before they are on the set. This can be done by supplying them with a detailed plan of the whole day's work.\n\nThe Emby Photographic Products of California, Inc., is opening a new manufacturing place in Los Angeles. The location is 1041 South Olive street, in a spot rapidly becoming the camera headquarters for the downtown section. The Craig company is on one side and the Los Angeles Camera Exchange is on the other.\nAt the head of the company is H.R. Kossman, the general manager, who has had abundant experience in the work he is undertaking. The building is 55 by 100, and part of it is in two stories. The upper floor is devoted to offices. In the front of the main floor is a large sales office. The remainder of the front of the office is devoted to an exhibit room and windows. Just behind these is a large projection room, with an area of 10 by 25 feet. In the rear of this is a semi-darkroom of the same size, with a customer darkroom leading off. Prepare another working script for yourself and set it out in the order you intend working. On your first script, prepare another working script.\nScenes will be numbered numerically, but in this working script, you might find it expedient to commence the last scene first. Be careful to have a friend mark each scene as it is shot, in a room devoted to testing immediately adjacent. There is also a stockroom with plenty of light. A big vault here is devoted to patterns and tools.\n\nChief Engineer R. C. Hubbard, formerly of the Consolidated Film Industries, will be at the head of a large force of engineers and designers. The latter have roomy quarters. The machine shop, with 1500 feet of area, has an impressive array of equipment, including lathes of many types. Chief Engineer Hubbard\u2019s office is at the edge of this room.\n\nThere is the latest type of temperature control for hardening metal, a power press and foot press, automatic lathes and automatic screw machines. It is the intention\nMr. Kossman plans to manufacture photo finishing equipment, followed by any type of amateur equipment or motion picture equipment or any work that may be desired. The opening is scheduled for September 15, where you will not miss any part of your sequence. This is one person's work, and they must ensure that the players appear in each scene as they did in the preceding scene. Do not tire your amateur players with too many unnecessary rehearsals. Have your people know what is expected of them before they leave home, and you yourself learn your script, shot for shot, and endeavor to get your cast into the mood necessary for each scene. The trade of Southern California will be given a first-hand view of what the Emby company plans to do in its new home.\n\n\"Photopedia\"\nThe United Catalog Publishers Inc.\nFifth avenue in New York has issued \"Photopedia,\" the only official buying guide and reference book of the photographic industry. It is a large volume bound in a hard red vellum cover containing over 400 pages with ample illustrations, descriptions, prices, and technical data. The book features a comprehensive classified merchandise index, alphabetical index of all manufacturers, and an extensive listing of trade marks and trade names.\n\n\"Photopedia\" is used as a buying guide and reference book by the photo-conscious, as well as manufacturers, distributors, dealers, camera clubs, photo-finishers, press photographers, schools, colleges, industrial organizations, and others. The price is $1.95.\n\nTo provide photographers with an opportunity to submit pictures of summer activities to the Leica exhibit, the closing date for the receipt of prints has been deferred until October 1.\nSeptember 1939, American Cinematographer 415: Cine-Kodak Super-X Safety Film (8 mm.) expands movie making capabilities. Indoors under Photoflood light or outdoors under any daylight or night illuminations, Super-X performs excellently. Faster than regular 8 mm. by three times, its greater fineness of grain ensures clear, clean-cut projection on large screens typically used for 8 mm. showings. Fully panchromatic, its price with processing included is $2.25.\n\nCine-Kodak Eight \"Pan\"\nPrice Reduced\nWith the introduction of Super-X Film, the price of regular Cine-Kodak Eight Panchromatic Film has been reduced from $2.25 to $2 per roll. This renowned film, which brought:\nThe revolutionary economy in movie making remains exactly as it has always been, reliable, beautifully fine in grain, and wide in exposure latitude.\n\nEastman Kodak Company, Rochester, NY.\n416 American Cinematographer \u2022 September, 1939\n\nKodak introduces the Kodak Precision Enlarger, the first item in a comprehensive program of highly advanced photographic equipment, heralded as the finest and most versatile enlarger available anywhere. Uniquely designed for an extremely wide range of applications, the Kodak Precision Enlarger is announced by the Eastman Company as ready in September.\n\nPlanned and built in the Kodak Rochester factories, the Kodak Precision Enlarger is intended for photographers who require and appreciate fine equipment. With it are announced two series of anastigmat enlarging lenses and a number of accessories useful both in routine and specialized applications.\nWith these lenses and accessories, the Kodak precision enlarger can be used for producing black-and-white prints, lantern slides, film positives, and making accurate color-separation negatives from full-color film transparencies. Furthermore, it can be used for copying and titling, for indoor or outdoor photography in full-color or black-and-white, and for photomicrography in conjunction with any suitable microscope. Through a carefully-planned system of interchangeable lenses and condensers, the Kodak precision enlarger conveniently covers a range of negative sizes from 35mm up to 214 by 3 inches, permitting the making of 11 by 14-inch and larger prints on the baseboard from any negative within this size range. With the enlarger head turned to horizontal position, the range of enlargement is limited only by the length of the projection room.\nThe three assemblies that make up the larger unit are as follows: 1. The stand assembly: A five-ply, natural finish, laminated wooden base, 35-inch chrome-plated column 114 inches in diameter, and sliding bracket. 2. The bellows assembly: A die-cast aluminum back frame that attaches to the sliding bracket of the stand assembly, carrying a gray bellows, die-cast aluminum front board that accepts a 2%-inch square aluminum lens board and a nickel-silver chrome-plated shaft on which the front casting slides by means of a positive friction drive mechanism, designed for hairline focusing. 3. The condenser head: A light-tight metal lamp house containing an opal projection lamp and condenser system, consisting of two optically ground and polished condenser lenses in a metal mount with a heat-absorbing glass located at the top. All controls are positive.\nAll controls in this basic setup are smooth-acting and positive. A nicely adjusted counter-balance in the column head permits the operator to shift the enlarger head upward or downward with maximum ease. A slight turn of the tenite hand knob secures the head at any desired height.\n\nThe head itself may be swung and locked instantly at any position from vertical to horizontal, and an indicating scale shows the accurate vertical position, as well as other positions up to 90 degrees off vertical. Furthermore, the head and bracket may be turned 180 degrees around the column for projection to the floor.\n\nThese various controls have eminently practical applications. Head tilt is useful in correcting converging vertical lines in a negative. Horizontal position is desirable in the making of extreme enlargements or photo murals by projecting onto a screen.\nIn order to provide full enlarging efficiency throughout the entire range of negative sizes accepted by the Kodak precision enlarger, lenses are available. September, 1939 - American Cinematographer 417\n\n.Eclair Camera Makes Debut in Hollywood\nBy WILLIAM STULL, A.S.C.\n\nWith claims of being the most silent studio-type motion picture camera yet constructed, the French-built \u201cCamereclair\u201d makes its initial appearance in Hollywood. Its manufacturer is the Etablissements Cinematographiques Eclair, of Paris, a firm which since 1907 has not only manufactured some of Europe\u2019s finest camera and laboratory equipment, but has also operated its own studios and laboratories.\n\nThe new Eclair embodies novel features, including a completely silent reflex viewfinder, a new type of shutter, and a new type of lens mount. The camera is designed for both 35mm and 16mm film, and can be used with standard 35mm lenses. It is expected to be particularly popular with newsreel and documentary filmmakers, as well as with small independent studios.\n\nThe Eclair camera was introduced at a dinner given by the French Consul General, M. de Courcel, at the Ambassador Hotel in Los Angeles. Among those present were such Hollywood notables as David O. Selznick, Louis B. Mayer, and Darryl F. Zanuck. The camera is being distributed in the United States by the Eastman Kodak Company.\n\nThe Eclair camera is expected to be in general release by the end of the year. It is priced at $3,500, making it competitive with other studio cameras of similar capabilities. The camera is being shown at the Eastman Kodak booth at the International Film Exposition in New York, which opened yesterday.\nThe new camera boasts numerous features similar to previous models, most notably the Mery focusing system. It is a completely new design, developed within the past two years by Maurice Dalotel, who became chief engineer of the Eclair firm two years ago following a thirty-year association with the DeBrie organization.\n\nInternational Design\nThe new camera is already in successful use in the major studios of Europe, Great Britain, and India, and has thus been thoroughly proven on actual production before making its American debut.\n\nThe camera combines the outstanding features of both European and American design. The camera head is of the boxform outline characteristic of European studio cameras, but is fitted with very American-looking external magazines. These magazines eliminate the need for having film specially rewound or for complicated threading, as has usually been the case.\nThe case with cameras fitted with internal magazines has been the issue. The camera's actual framework is of rigid metal construction. However, the designer has pioneered the use of a new and modern material for the outer case. This is a special synthetic plastic, molded into shape. The material used, unlike some of the more familiar plastics which have been found ill-adapted to camera construction, is not brittle but of a tough, semi-resilient character. This outer case is lined with several layers of sound-absorbent materials.\n\nLeft: Mechanism of new Eclair camera in photographing position. Film with prism for focusing on film, in aperture, ground glass above. Note single claw pull-down and registration pin movement.\n\nRight: Eclair mechanism set for ground glass focusing. The film carrying aperture is folded downward, and the ground glass is dropped into the focal plane.\nThe camera effectively absorbs the noise and vibrations produced by the film-moving mechanism inside, serving as thermal insulation to protect the film from external heat. The front of the camera is closed for better sound insulation, and the lens photographs through an optical glass window.\n\nThe film movement is of the pilot pin type, with an intermittent pressure pad. A single claw moves the film down between exposures; as the claw retracts, a single pilot pin enters the perforation and holds the film in accurate registration. The pressure pad behind the aperture also operates intermittently, moving forward to hold the film precisely in the focal plane during exposure, and releasing during the pulldown interval so that the film moves freely. One edge of the film is guided.\nDesigner Dalotel's choice of a single claw take-down movement was guided by tests of cameras of many types, which showed that in most instances, minor irregularities in film perforation and shrinkage generally resulted in one of the two claws actually moving the film. Therefore, he decided a single claw movement would be fully accurate, and much simpler to construct and maintain.\n\nA single catch permits easy removal of the pressure pad and film channel for cleaning and inspection. Two positive, mechanical anti-buckle trips are provided, one governed by a relieved roller which bears, under spring tension, on the incoming film, the other on the outgoing film.\n\nIn addition to the conventional calibration system, two focusing systems are provided.\nFocusing is accomplished through the lens in its photographing position. Two methods of visually focusing the picture are provided, following the Mery system, which has been a patented feature of Eclair cameras for over thirty years. The image may be focused on a ground glass focusing screen or on the film itself, and viewed through a magnifying system from a convenient point at the rear of the camera.\n\nLeft: Rear view of Eclair camera with motor housing removed. Note bayonet lock on motor mount, with motor switch and connectors below. Focus knob and two of the three focusing scales can be seen at the right corner. Below, on the side, finder and footage counter.\n\nRight: Front view of Eclair camera with front window open. Note standardized lens mount and position of finder.\nFor focusing close to the camera lens, the diaphragm and shutter controls are visible at the side of the camera, slightly below the lens. Note the insulation on the diaphragm control shaft. European cinematographers, even with the advent of anti-halation film backings, have long favored focusing on film through a prism directly behind the pressure-pad. This reflects the image onto the focusing microscope mounted on the camera door, which in turn reflects the image to the rear of the camera. The focusing eyepiece, adjustable to suit the individual eye, is fitted with an automatic shutter. This allows following the image on the film during shooting, while if not done, the focusing telescope is automatically shuttered to prevent light from entering and fogging the film. For ground glass focusing, a knob at the rear of the camera is pulled.\nThe camera revolves by hand, rotating the film carrying aperture downward away from the focal position and sliding a ground glass into place in the focal plane for viewing from the rear of the camera through the same reflecting-magnifying optical system used for film focusing. In this operation, the camera door is not opened, and the film is not subjected to any undue bending or twisting stresses, preventing damage. A slight turn of the motor shaft returns the film to its normal position and moves the ground glass up and out of the way. A safety lock makes it impossible to start the camera with the ground glass in the focusing position. One Focus and Diaphragm Scale Lenses are quickly interchangeable and fitted in standardized mounts, a recent invention of Ennis.\nEngineer Dalotel invented a system for automatic compensation of focal length differences and various stop calibrations of individual lenses. Consequently, a single scale for diaphragm settings and another for focal settings serve all lenses, regardless of focal length or speed. In focusing, lenses do not rotate but move straight forward or back in relation to the film. For operational convenience, three focusing scales are provided. One is visible through a port at the front end of the right-hand side of the camera. A second is at the rear of the same side, beside the large knob controlling the focusing movement. The third is seen through a window at the rear of the camera. The diaphragm scale is on the left side of the camera. Directly below it is the aperture control. (September, 1939 - American Cinematographer 419)\nThe shutter can be adjusted to any aperture from zero to one hundred eighty degrees using the control. No automatic fade is supplied, but the shutter can be operated manually during camera operation for making fades or exposure compensation. A convenient feature for assistant cameramen is a button on the left-hand side of the camera, located in the focal plane, for attaching a tape measure. Since the end of a tape is likely to become worn or damaged with use, a calibration point for precise focusing is provided four inches from this knob.\n\nMinimum finder parallax.\n\nThe finder is mounted on the right-hand side of the camera instead of the conventional place on the opposite side. In this position, as the Eclair executes:\nA person using the finder to align a shot is out of the way of an assistant loading the camera or of another crew member using the ground glass and focusing magnifier. The finder lens is placed directly beside the photographing lens, inside the camera case and only a few inches from the lens. The image is reflected through the case to the finder on the outside. It is, of course, magnified and erect.\n\nDue to this placement of the finder lens, horizontal parallax is minimized, and this is further corrected by a mechanism which adjusts the finder to compensate for parallax as the camera lens is focused.\n\nSemi-automatic four-way finder mattes are provided to mask the finder to the left, right-hand side of the Eclair camera, with the motor cover in place. Focus control is at the rear of the case, with an auxiliary focusing scale.\nAt the front, find footage counter and tachometer directly below finder. Lever above finder operates film punch, and calibrated scale on finder adjusts finder mattes. Note: closed, reversible housing over take-up belts.\n\nRight, close view of Eclair camera, open, in ground glass focusing position. Note separate magazines and contractible film-core. The large dial at left adjusts stops for all lenses; directly below is shutter control. Film-shaping trimmer at right adjusts the angle of any lens being used.\n\nThese mattes are operated by a single, calibrated control at the side of the finder.\n\nUses any motor. Any type of driving motor desired may be used with the new Eclair. The motor, with any necessary reduction gears, is fitted in a bayonet-type motor-mount, and covered with a sound-proofing case of the same material as the camera case.\n\nThe camera which has been brought\nHollywood cameras are equipped with a standard ERPI alternating current motor, a 50-cycle A.C. motor, and a battery-powered motor for \"wild shots\" and location use. Electrical circuits and connectors are built into the camera for using synchronous motors, interlock motors, or \"wild\" motors. A master switch is provided for use with sound systems where the camera crew starts the camera.\n\nIndividual Magazines\nThe magazines are of the familiar, external type, but they differ from conventional American practice in that the feed and take-up chambers are built individually rather than together. The magazines are interchangeable, having light traps in two positions, so that after a loaded magazine is emptied, it can be turned ninety degrees and used for take-up.\n\nThe magazine spindles are fitted to accept the standard cores supplied.\nFor take-up, a special Eclair core is used. This core is slightly larger than the standard raw-stock core and is of the contractible type for easy threading. A trimming clip is provided at the side of the camera for quickly shaping the end of the film for convenient threading.\n\nThe take-up is belt driven, through an enclosed belt-housing. At the upper end of this housing, an adjustment is provided for altering the take-up tension.\n\nBy reversing the take-up housing, swinging it from the take-up to the feed magazine, the camera may be operated in reverse whenever necessary.\n\nSilent Operation:\nAt the present writing, photographic and sound tests of the new Eclair camera are being conducted at one of Hollywood\u2019s major studios. Pending these tests, little can be said about the silence of this camera. However, this writer has not yet had the opportunity to experience its silent operation.\nseen  the  camera  demonstrated  on  sev\u00ac \neral  occasions,  and  while  the  acoustic \nconditions  at  those  times  were  not  those \nof  a  test-stage  the  manufacturer\u2019s  claim \nthat  the  Eclair  is  the  most  silent  cam\u00ac \nera  thus  far  developed  may  have  some \nbasis  of  foundation. \nThe  designer  states,  moreover,  that \nthe  camera  will  not  become  noisy  with \nuse,  as  the  gears  are  large,  with  pre\u00ac \ncision-cut  herringbone  teeth,  and  metal \nand  plastic  gears  are  alternated. \nAccessories \nThe  weight  of  moving  parts  has  been \nreduced  to  the  safe  minimum,  though \nthe  camera  appears  considerably  more \nrobust  than  most  European  designs,  and \nvibration  should  be  correspondingly  re\u00ac \nduced.  The  usual  floating  rubber  insula\u00ac \ntion  is  used  between  the  inner  case  and \nall  external  parts. \nThe  Eclair  camera  is  equipped  with \n(Continued  on  Page  U25) \n420  American  Cinematographer  \u2022 \nSeptember,  1939 \nFILTERS \nCANNOT \nMIRACLES \nA friend approached me with a problem. \"Something's wrong,\" he said. \"I've always been taught to use a heavy filter to make clouds stand out against their background, but last week, when those stormclouds were gathering, it didn't work. I took two shots - one on panchromatic film with a deep red filter, the other on the same film but without the filter. The clouds show up best in the unfiltered shot. What's going on?\"\n\nUpon viewing the two scenes, the answer was clear. My friend had blindly followed a rule about filtering clouds without considering his specific circumstances and how his filters functioned.\n\nHe had a fairly clear blue sky for a background. Against the sky were piles of massive stormclouds that ranged from leaden gray to black.\n\nAnd here's what transpired when he used the filter:\n\n(Assuming the text ends here, as there's no completion to the sentence.)\nSlipped that red filter over his lens. The filter, acting perfectly normally, darkened the blue sky almost to black. Against this dark background, ordinary white clouds would stand out like so many puffy cameos. But these clouds were dark! With nothing to afford contrast, the dark clouds disappeared against the darkened sky like the proverbial black cat in a coal-mine. In the unfiltered shot, the sky was naturally rendered as a light gray, giving a perfect contrasting background for the dark thunderclouds. No wonder the unfiltered shot was better!\n\nCine Filmers\u2014and Still, Too\nThis is fairly typical of the way too many cinefilmers look at the problem of filtering. Next to the ever embarrassing \u201cWhat stop should I use?\u201d at amateur club meetings and on occasions when substandard camerists encounter a professional, the most frequent question is: \"Which filter should I use?\"\nA person asked, \"What filter should I use?\" It's like asking a doctor, \"I don't feel well\u2014 what pill should I take?\" The doctor needs to know where and how you feel ill; the photographer must consider all the varying conditions of your shot, such as subject, atmospheric conditions, lighting, location, type of film, and the like, before they can give an honest and helpful answer.\n\nFirst, let's ensure we understand what a filter is. It's merely a piece of colored glass or gelatin placed between your subject and the film. Being colored, it allows light of its own color through unhindered and absorbs light of its opposite or complementary color.\n\nFor instance, if it's a red filter, it lets red light pass almost as if the filter weren't there, and depending on how deep a red it is, it stops most or all of the blue.\nSince you are filtering out part of the exposure-making light, you have to increase the total exposure - either by giving a longer exposure or opening up the lens to let more light get through - to give your film a full normal exposure. Matter of Composition Now, if all the blue light is cut out, there will, even so, be practically no exposure given in the blue areas of the image. And since red goes through unhindered and you are giving more exposure too, the red areas will get an increased dose of exposure. As a result, the blue areas will be dark and the red ones light. Other colors will be affected between these extremes, according to the amounts of red or blue their composition includes. All of this presupposes a film that is sensitive to red light - that is, a panchromatic film. But suppose we have a different type of film.\nA film that is not sensitive to red but only to blue. We've cut out all blue; we've put nothing useful in to replace it, so our film will get no exposure. If the film is, like Plenachrome, sensitized well through the yellows and oranges, and almost to red, we may, if we increase the exposure sufficiently, get a bit of exposure.\n\nHere we have one filter which is useless on one type of film, partially useful on another, and thoroughly useful on a third emulsion, with only a small exposure-increase necessary.\n\nIn the same way, if we use this same red filter on two different types of panchromatic film, one strongly sensitive to red, the other only moderately sensitive to that color, we must obviously increase the exposure more for the second film than for the first if we are to keep the same level of exposure.\nFilm has no fixed normal exposures. A filter that requires a factor of 3 on one type of film may need a factor of 6 on a less sensitive film. Therefore, without specifying the type of film used, it makes no sense to refer to this (or any) filter as a \"3x,\" \"6x,\" or any other arbitrary rating.\n\nFilm Speed is no criterion. Orthochromatic emulsions, which are not sensitive to red but are sensitive to blue, green, yellow, and sometimes orange, can be faster than some panchromatic emulsions. However, despite their speed, they will demand more exposure when used with a filter that cuts out most of the light to which they are sensitive, compared to a much slower but more color-sensitive film used with the same filter.\n\nLittle standardization has been done for filters of different manufacturers.\nFor accurate color photography, experience is the best guide to factors and effects, unless one follows professional practice and uses filters. The fewer filters one uses, the better they can be utilized. Two or three filters will meet almost every possible need. For color-blind or orthochromatic film, use a light, intermediate, and dark yellow filter for lightly filtered, intermediate, and heavily corrected effects. For panchromatic materials, a medium yellow filter (regardless of its trade name) provides the best results for slight correction, while an orange filter (I prefer Wratten G or 21) is suitable for more significant correction.\nFor a medium correction and a medium red one for heavy artillery. With these three, you should be able to meet every normal situation\u2014and you'll have less to carry and less to remember.\n\nWhen Filter Can't Help\nBut there are times when no filter can possibly help. For instance, the dark cloud situation mentioned earlier. Much more frequent, though, is a pale watery-blue sky, which looks more nearly white than blue.\n\nSeptember, 1939 \u2022 American Cinematographer 421\n\nPlanning Vacation Script\nBy John T. Chebester\nWashington Society of Amateur Cinematographers\n\nThere is possibly no other phase of motion picture photography so important to the average amateur moviemaker as continuity in his travel films.\n\nIt is possible that about 90 percent of his pictures are taken while he is on a trip. Nothing is probably so elusive to the amateur as maintaining continuity in his travel films.\nThe average cameraman tries to put some form of connective succession into his movies. It is elusive. There is generally an unsuccessful attempt or two to get help from those whom the beginner believes ought to be in a position to help him. Nine times out of ten, he is disappointed by the lack of interest in his problem and more or less drifts along with the tide for a while. This, of course, leads to utter disappointment in time. Everyone is in such a hurry; it is difficult to pin the fault of this state of affairs on any particular class of persons. Certainly, the dealer does not have the time to show the novice how to make good movies. His friends, if he has any who make movies, will assist him, but even they are busy with untold numbers of problems of their own and cannot act as a kindergarten movie school.\n\nJoin a good club.\nA new amateur should join a good movie club where experts can provide guidance and advice. Continuity is challenging to achieve, depending on what is being filmed. There are only a few rigid rules for travel films. Try looking at the subject as if reporting a trip to the club, such as one to Alaska.\nYou wouldn't begin such a talk by telling about getting on the boat to take a trip down the McKenzie River or landing at Seattle or your connection with a telephone pole on the return trip in Oshkosh. If you ever attempted such a thing, you would certainly be looked upon as a little balmy and would be promptly placed on the crackpot list where you would belong.\n\nInstead, you would begin at the beginning. You would probably try to tell them what prompted you to take this trip, the late books you had read on the place you had visited, the travel talks and all the other things you had read and heard about it, the things you had to do to get ready to go. In other words, you would have a progressive story to tell, and you would try to do it the very best that you possibly could.\n\nProgressive Sequences.\nThe trip will have to be divided into a series of progressions. First comes the departure. This can be monumented; that is, a few fleeting shots of the preparation and boarding of the transportation facility can be made, or it can be more elaborate.\n\nH.W. Forbes, of the American Society of Cinematographers, passed away in Los Angeles on August 17th. He was fifty-one years old. He leaves a wife, Bertha Forbes, and a son. For several years, he had been ill beforehand. You may make several close-ups of different books on the place visited, travel folders and posters, packing baggage, boarding your car, or whatever conveyance you use. All of these preliminary sequences must be short. Try to take shots here that suggest a great deal, such as the turning of train wheels, etc.\n\nObituary for H.W. Forbes (August 17, 19XX)\n\nThe trip will require a series of progressions. The departure is the first. This can be monumented with brief shots of preparation and boarding the transportation facility, or made more elaborate.\n\nH.W. Forbes (American Society of Cinematographers member) passed away in Los Angeles on August 17, 19XX, at the age of fifty-one. He leaves behind a wife, Bertha Forbes, and a son. For several years, he had been ill beforehand. Close-ups of books, travel folders, posters, packing baggage, and boarding various conveyances can be taken during this stage. All sequences should be kept short. Consider capturing significant details such as turning train wheels, etc.\nThe blowing of a whistle, etc.\nIn order to save time and help in a thousand other ways, you ought to write something before you start. This is something in which you will show a great deal of improvement as you go along. You will be surprised to find how much better you will become at writing travel continuity once you have broken the ice. First, read everything of a late nature that you can get your hands on, think about the things you want to film, try to visualize the scenes you intend to take. The old rule that everything must have a beginning, a middle, and an end is as true today as it was two thousand years ago.\n\nScene 1, medium shot \u2014 the family reading a travel poster. Someone enters and says, \u201cLet\u2019s go \u2014 what do you say?\u201d Scene 2, close-up \u2014 a folder reading Alaska; a map of the same.\n\nIt\u2019s just as simple as that. The great\nBefore starting to write your scenario, consider what you plan to do? What is your plot? From plot to script, from script to film.\n\nJot down titles. Everyone enjoys a good story. Pictures tell a far more powerful story than mere words, but they must be in sequence.\n\nAfter the first division of our script, there follows the second. The trip to the place we intend to visit. Shots along the way. Montage into the thing here are quite a few signs. Put titles into your going trip. With these great helps, carry along a notebook and jot down at the time titles that you think you'll need.\n[The names of places along the way will show the progress of your trip: many miles to whoozit; this is the town of Salem - welcome; there are so many things you can film to show transition from one place to another. Get some human interest into the thing, too. Anything to get a little comedy \u2013 that most intense and human thing \u2013 human interest. Don't leave your audience at the mouth of the McKenzie. The third division is the conclusion. Take a few of the most lovely views of the country that you can manage as concluding shots. The return shots should be short \u2013 even though we had a wonderful time, it's mighty good to be home.\n\n422 American Cinematographer \u2022 September, 1939\n\nW. H. Robinson Jr.\nGeneral Electric Advances\n\nEffective as of August 1, W. H. Robinson, Jr., becomes assistant manager of]\nG-E Lamp Department's South Pacific Division, Los Angeles. He succeeds L. R. Wilson, who was named manager of North Pacific Division at Portland, OR. For the past three years, Mr. Robinson has been in charge of South Pacific's studio lighting and lamp sales in Hollywood. Upon graduation from the Massachusetts Institute of Technology, where he received his Bachelor and Master of Science degrees, he joined the street lighting department of General Electric at Lynn, MA, in 1925. During the next ten years, Mr. Robinson was engaged in special lighting sales work for General Electric in Schenectady, NY, New York, Chicago, and Los Angeles. He was appointed to the post of division engineer of South Pacific in April, 1935, and supervisor of studio lighting and lamp sales in February.\n\nColor Fashion News Reel Releasing One Each Month.\nA new vehicle in the world of fashion news is the recently created American Fashion Newsreel, a color and sound presentation of American Color Newsreels. It will be released beginning Sept. 1, 1939, once a month for the nine months ending June 1, 1940. Of particular interest is the fact that these \"fashion in films\" are designed as non-theatrical presentations and will be distributed exclusively to women audiences through women's clubs, community centers, colleges, groups, and other women's organizations on a national scale throughout the United States and Canada.\n\nA technique differing completely from the usual Fashion films will be employed by the American Color Newsreels. Each picture will contain a series of sparkling full color \"minute movies\" of the latest creations in apparel, gadgets from the kitchen, and hints for the hostess.\nAnd suggestions for house and garden in town or country, enacted by color-screen tested models. Each of the nine releases will be allowed to run only three months and will be withdrawn from circulation to guarantee the freshness of the fashion news.\n\nMogull's Fair News\nThe latest issue of Mogull\u2019s World\u2019s Fair News is off the press. Up-to-the-minute with its listing of every innovation in the photographic and cinematic fields, it carries articles of interest and helpfulness to the expert as well as to the newcomer in still or movie photography. Over 1300 items at discount prices are listed.\n\nWrite to Mogull\u2019s, 68 West Forty-eighth street, New York, for a copy.\n\nHarry E. Erickson with Ampro\nHarry E. Erickson, formerly with Erpi Classroom Films Inc., is now associated with the Ampro Corporation in Chicago as director of educational sales.\nAnd when the picture is shown on Da-Lite Glass-Beaded screen, every detail of the expression is captured. This screen, with its superior light reflective qualities, shows your movies and stills with life-like realism \u2014 the colors in full brilliance with all gradations of tone faithfully reproduced. Ask for a demonstration of Da-Lite Glass-Beaded screens. See the difference and you too will choose Da-Lite. Available in many styles including The Challenger, which can be set up in 15 seconds \u2014 the only screen with square tubing. 12 sizes from $12.50 up. Other styles as low as $2.00. Write for literature and name of nearest dealer.\n\nDa-Lite GLASS-BEADED SCREENS\nDa-Lite Screen Co., Inc.\nDEPT. 9AC, 2723 North Crawford Avenue, Chicago, Illinois\nReg. U.S. Pat. Off.\nSeptember, 1939 | American Cinematographer | 428\n\nPraise for Camerawork (Continued from Page U12)\n\nA reader praises the lights, shadows, and reflections in \"Juarez,\" stating that the figures, particularly in closeups, stood out in bold relief. They are certain the cinematographer, Gaudio, must be proud of their efforts on the picture.\n\nA letter from a stranger, a lady in Minneapolis:\n\nThe Layman Speaks\n\nScarcely differing from the enthusiastic praise of those in the industry, personally acquainted with Cinematographer Gaudio and his work, is this letter from an audience member.\nIt has occurred to me that the letters written to Faxon Dean Inc. Cameras Blimps-Dollies FOR RENT at 4516 Sunset Boulevard in the moving picture industry are primarily directed to cast members, rather than to the technicians whose work contributes largely to making the entire project a success. Because of this, I wish to tell you how tremendously much my husband and I appreciated your superb photography in \"Juarez.\" Those of us who see few pictures by choice are grateful for such a production as this recent Warner release. It would be difficult to single out particular scenes that were made doubly brilliant by the photography, but I want to mention at least the incomparable shots immediately following the signing of the decree by Maximillian, the symbolic, breathtaking flight into darkness by Carlotta.\nthe casual shots of the vultures at the time of Maximilian\u2019s entry into Mexico City, and Juarez\u2019 audience with the European diplomats (this might have been a satiric comment on Rembrandt\u2019s technique in handling such scenes). I don\u2019t know if the scene on the balcony of the palace at Chapultepec Park was actually shot there or in Hollywood, but even the tile floor was familiar, and there can\u2019t be but one Popocatapetl.\n\nThanks again for your splendid work.\n\nLenses for sale by\nMitchell Camera Corporation\n665 North Robertson Blvd.\nWest Hollywood, California\n\nI really should tell you before I close that many of our friends were so deeply impressed by it that they stayed long enough to learn the name of the photographer, and to say: \u201cWell, someone should write to Mr. Gaudio and tell him how fine his work is.\u201d For the first time I have acted upon such an impulse.\nMost cordially yours,\nMRS. LUCILE D. VERNESS. Encouragement Appreciated. Such recognition is naturally a source of inspiration to the cinematographer. As Gaudio replied to this letter, \"We may receive Academy awards for our work, awards given within the industry, but it is far more gratifying to receive letters such as yours typifying an audience that goes to see the picture for the story that is told. I assure you that such appreciation will be encouragement for better work in the future.\" That cinematographers can and do make their individual artistic styles evident even to the non-photographic public is evidenced by a remark in a letter from the British electrical engineer, P. C. Smethurst, to this writer, which excellently summarizes the entire situation. He wrote: \"I think I know the members of the A.S.C. by name as well as their work.\"\nAnyone here, and I could certainly identify some of them. It's strange how individual people always leave their mark in some little way, even on technical points, isn't it?\n\nMexican Picture Industry in Difficult Position\n\nLack of demand for its productions has brought about a crisis in Mexico's domestic film producing industry, according to a report to the Department of Commerce from Commercial Attache T.R. Lockett, Mexico City.\n\nEstimates place the number of locally made pictures which have not been exhibited at around 35. Very few companies which have been able to release all their productions have continued producing, the report points out.\n\nBecause of the acute situation in the motion picture industry which affects the studios, producers, and distributors, a petition to the Government for assistance was made.\nThe first result of the recent action made on behalf of all branches was a promise by federal district authorities to enact legislation that would require local exhibitors to set aside 12 complete weeks each year for the exhibition of Mexican-made pictures. The proposed legislation includes first-run theaters as well as smaller houses. Local studios have promised to reduce charges as much as possible, but it is not believed the reduction will be sufficient to encourage increased output, according to the report.\n\nEastern Headquarters\nCAMERAMEN\nMitchell Cameras \u2014 Studio & Cutting room Equipment\nS. T. R. Lights-i PMC\nFrank-Zucker\nCable Address: Cl NEQUIP\nf AM ERA Equipment\n1600 Broadway, nyc. Circle 6-5080\n[September 1939, American Cinematographer]\nArt Reeves\nMotion Picture Equipment Studio and Laboratory Tested Since 1929\n\nAutomatic Developing Machine\nComplete in Every Detail\nHollywood users can attest to its superiority\n- Sensitester\n- Variable Density Sound System\n- Variable Area Sound System\n- Single System Re-recording System\n- Microphone Boom\n- Reeves Lites\n- Sound Accessories\n- Laboratory Accessories\n\nArt Reeves\nCable Address: ARTREEVES\n7512 Santa Monica Blvd. Hollywood, California, USA\n\nEclair Camera Makes\nHollywood Bow\n\nThe Eclair camera comes with all conventional accessories and a few not ordinarily found as standard equipment. A footage-counter of the Veeder type is provided and placed directly below the finder. An accurate tachometer is also built into the camera, which should be a convenience in \"wild\" shots.\n\nAn unusually large square bellows is used.\nThe camera features a fitted front with slides on two demountable, chromium-plated rods. A large gobo, mounted on an arm supported by a ball-and-socket joint, is above the camera. Various filter holders are provided. One type screws into the lens to hold small, round filters and diffusion discs directly in front. A second type snaps into place and is equipped with metal holders for several standard 3 by 3 inch glass-mounted filters or gauzes and the like. A film-notching punch is built into the camera. It is operated by a small lever outside the case, directly above the finder; the camera need not be opened for notching film between takes. A receptacle inside the camera catches the punchings. As previously mentioned.\nA trimming clip on the side of the camera permits shaping the film for convenient threading into the take-up core without using scissors. Due to the light weight of the camera \u2013 its loaded weight is approximately 140 pounds \u2013 it does not require an unusually heavy tripod. The tripod supplied with the camera is only slightly heavier than those used for silent cameras, and is fitted with a Y-shaped reinforcement between the legs. It has a spring-balanced pan-and-tilt head which requires no additional friction for smooth operation and which holds the camera in equilibrium without being locked. Independent locking-screws are provided for the pan and tilt movements, however. A simple adaptor-ring permits adapting this head to any standard dolly or boom. Altogether, the new Camereclair appears to be a most interesting step in filmmaking technology.\nThe new camera design has established a record for durability in major production centers, even when used in India and Egypt, far from recognized service facilities. The Eclair organization has appointed the Fearless Camera Company, located at 8572 Santa Monica Boulevard, as American sales and service representatives for the new model.\n\nThe Cinema Club of San Francisco held its regular monthly meeting on August 15, 19--, in the Green Room, 1355 Market Street. N.P. Dunne showed his 16mm film titled \"California Trails.\" Club member Robert McCollister presented 250 feet of black and white film on \"Ice Follies.\"\nCatalogue: Willoughby\u2019s, 110 West 32nd street, New York, has published \"Equipment and Accessories for Better Pictures.\" The book consists of 100 6 by 9 inch pages and is illustrated.\n\nAttendance in Tokyo: According to a report released by the Metropolitan Police Board, Tokyo, attendance at Tokyo's 296 motion picture houses totaled 71,304,484 persons during 1938. Total attendance at all amusement houses amounted to 86,598,627, an increase of 3,107,943 over the previous year.\n\nReports indicate that attendances at motion picture houses fell off by about 15% in Tokyo during May, compared with the previous month. However, receipts still continued to be well above those for the corresponding period of last year.\n\nSeptember, 1939: American Cinematographer 425 - 35MM. & 16MM. Laboratory Equipment for Color and Black and White.\nWestern Electric's cardiod directional microphone debuts in Hollywood. A sound technician adjusts the new mike for Miss Shirley Ross. Production Chief Homer Tasker and Loren are present.\n\nFried Camera Co.\n6156 Santa Monica Boulevard, Hollywood, Calif.\nCamera Supply Company\nArt Reeves\nISIS North Cehuenga Boulevard, Hollywood, Cable Address \u2014 Cameras, California\nEfficient-Courteous Service New and Used Equipment\nBought \u2014 Sold \u2014 Rented\nEverything Photographic Professional and Amateur\nMotion Picture Supply, Inc.\n723 seventh ave., New-york-city\nBryant 9-7754 _ J. Burg1 Cables CINECAMERA\nL. Ryder, Paramount's recording director, looks on. (Photograph from Electrical Research Products, Inc.)\n\nThe New Seeman Titler, a model fitting most cinematic cameras, is making a hit with filmmakers. Seemann keeps up with the advancement in amateur cinematography techniques and now offers a new titler with many new features not typically found in other titlers of equal price.\n\nThe camera is adjusted to have the lens flush and centered on a celluloid disc marked with circles. The auxiliary lens is then substituted for the celluloid alignment guide, accurately centering the camera.\n\nStandard typewritten or hand-lettered title cards may be used. A large square celluloid guide fits over the card holder frame, clearly showing the true title.\nThe camera lens covers a set area. In addition to the regular title lens, an auxiliary lens of 30-inch focal length is supplied. This allows users to photograph large title cards with movable letters. Two rollers, each with hand cranks, are attached to the upper and lower parts of the title holder frame. These enable users to create professional scroll or rolling titles.\n\nThe new See-mann titler can accommodate 16mm, 8mm, and 9.5 mm cameras. This is achieved through the unique and flexible camera base and alignment guide.\n\nThe Model B comes with two reflectors, adjustable to almost any desired angle. Each light has a separate switch. The lighting equipment can be added to Model A at a small additional cost.\n\nModel A, without lights, is priced.\nModel B, with lights, is $9.95. The price includes two lenses, title cards, and complete instructions.\n\nFilters Cannot Perform Miracles\n\n(Continued from Page U21)\n\nNo color filter will do any good there, for the action of a filter in darkening the sky is simply holding back the blue\u2014and when you haven\u2019t any blue to hold back, you\u2019re simply out of luck.\n\nOn the other hand, a polarizing filter, like a pola screen, will often do the trick. The most common cause of those washed-out, colorless skies is a haze which comes from polarized light.\n\nIn such cases, the pola screen can cut out the polarized rays, and give you the desired result far better than any filter.\n\nEven this isn\u2019t much use if you are shooting at an angle of less than 90 degrees from the sun. In such an instance, the polarizing filter will not be effective.\nstance, though you'll find ordinary filter effects will decline sharply by this time. Ordinary color filters are useless for Kodachrome, as their color would change the resulting picture. With the exception of the pinkish filter which balances Type A Kodachrome to daylight, I have yet to find a filter of much real value with color. The Eastman experts make and recommend the colorless \u201chaze filter\u201d for extreme long shots, to absorb the invisible ultra-violet which will obscure the distance with a bluish veil.\n\nAbout Pola Screen:\n\nOpinion is sharply divided among both professionals and amateurs on this filter. Some like it, and some don't. But to my mind, there is a far better device.\nFor the same purpose in the polar screen. This simply absorbs the scattered, polarized rays forming visual haze, without cutting out much of the blue and ultraviolet which give the slightly bluish cast we habitually associate with distance. As a result, the distance is properly clear, the haze most surprisingly penetrated, without any apparent alteration of natural coloring.\n\nIf you doubt this, there is excellent proof available in the truly beautiful Kodachrome films made by William B. Yale, S.AC., in Glacier National Park, which are now being exhibited all over the nation by the Great Northern Railroad.\n\nIn the majority of the extreme long shots in his films\u2014long shots in which the distant horizon may have been well over a hundred miles across mountains and valleys from the camera\u2014Yale used his pola screen instead of any filter.\nOther scenes made at the Grand Coulee and Bonneville dam projects in the northwest offer a more direct comparison, as some shots were made with the pola screen, and others, but a few minutes before or after, without it. In every instance, polarized scenes are far and away the best. Additionally, other scenes of a more normal nature are given spectacular \"Maxfield Parrish\" blue skies by the same pola screen. I'd suggest every serious Kodachromer should get acquainted with the pola screen, as it will serve his color cinematography in the same way color filters enhance monochrome scenes.\n\nEastman Adds Four Books of Reference to Its Library\nWorthy reference material for any photographer's library, four new Kodak data books are announced by the Eastman Company. These books, now available through dealers, present a tremendous amount of information.\nThe books provide specific, practical information in handy format. Designed for clarity, they will help almost any photographer to a more accurate understanding of the materials they use.\n\nThe books, in uniform 6 by 8.5-inch format, are: \u201cKodak Films,\u201d 56 pages, 15 cents. Discusses Kodak Roll Films, Film Packs, Miniature, and Sheet Films. Photographic characteristics of the films, such as speed, contrast, and the like, are described, and the sensitometric terms are explained. Methods of determining film speeds and meter settings are also discussed.\n\n\u201cKodachrome, Photography in Color,\u201d 52 pages, 25 cents. A comprehensive discussion of Kodachrome Film, and data on its use for full-color filming. Exposure technique both in daylight and artificial light is treated, and advice on using a photoelectric exposure meter is included.\n\n\u201cWratten Filters,\u201d 40 pages, 15 cents.\nThis book deals with filters from both practical and theoretical standpoints and will appeal equally to the commercial photographer and the serious amateur. Diagrams and illustrations in black-and-white and color supplement the text and demonstrate the use of various filters and the Kodak Pola-Screen. Reference tables aid selection of the proper filter for a given need.\n\n\"Eastman Photographic Papers,\" 48 pages, 15 cents. Offers full information on the various brands of Eastman photographic papers and deals at length with their photographic and physical characteristics.\n\nLANDERS 6c TRISSEL, Inc.\n- RENTALS - SERVICE -\nMOTION PICTURE CAMERAS - BLIMPS - DOLLIES - CAMERA CRANE\nAND ALL ACCESSORIES\n\nPHONE\n6313 Sunset Boulevard\nNear Vine Street\nHollywood, California\n\nNight\nLanders HE-1311\nTrissel - Sunset 25992\nFILM DEVELOPING MACHINERY\n35MM INC 16MM\nA: Driving Principle--Simplicity of Design--Economy of Operation\nAll models complete with Temperature Control for Developer and Developer Agitation Units. No Sprockets--No Precision Maintenance. Handles Positive and Negative Stock. Constant Speed--Perfect Control--Great Flexibility. Machines May Be Leased.\n\nFonda Machinery Company\nLos Angeles, CA\n8928 Santa Monica Blvd.\nCable Address \u201cFonda\u201d\n\nSeptember, 1939 -- American Cinematographer 427\nWholesale Camera Supply\nMaking Reduction in Price\n\nThe Paramount lens shade and filter holder, being issued by the Wholesale Camera Supply Company, 122 East Seventh street, Los Angeles, is being reduced in price along the line. The holder is constructed of heavy duralumin and perfectly machined by hand. The two-piece construction allows the filter to be held firmly in place, and it is possible to change filter or diffusion disk with ease.\nThe use of individual holders for each filter. The inside is painted with flat black to reduce reflection. Paramount sunshades and filter holders are packed in individual boxes and are available in many sizes. Among these are Bell & Howell 8mm. f3.5 and f2.5; Keystone 8mm., f3.5 and f2.9. In the thirty-odd others, where the outside diameter of lens barrel ranges from 22mm. to 60 mm., the price runs from $2.50 to $6. Hirsh & Kay of 239 Grant avenue, San Francisco, have been appointed distributors for the Paramount line of sunshade and filter holders.\n\nKodak Precision Enlarger\nUnique\n\nIntended for the usual run of black-and-white work.\n\nThe other series, the Kodak Projector Ektars, are Eastman\u2019s finest enlarging lenses. These lenses are ground and polished with the greatest accuracy.\nAccording to formulas that ensure optimal color correction and freedom from astigmatism. Particular care has been taken to correct them for lateral color, so that when color separation negatives are made, identical-sized images are obtained through each of the three separation filters. These Ektar lenses are supplied in 2-inch, 3-inch, and 4-inch focal lengths, all f/4.5 stopping down to f/22. Click stops are provided, so that the diaphragm can be set easily in darkness.\n\nA series of interchangeable condensers is also available, to provide full efficiency of illumination with each lens. Each condenser consists of two condensing lenses and a disk of heat absorbing glass, in special mount with handle, so that it can be lifted out readily for interchanging.\n\nThe Kodak precision enlarger beautifully combines the speed of the contact printer with the fine grain and tonal gradation of the enlarging process. It is designed for both black-and-white and color work, and is equipped with a variable-intensity illumination system that provides uniform illumination over the entire enlarging area. The enlarging lens is interchangeable, and a wide range of lenses is available to cover various enlarging formats. The enlarging head is adjustable in height and tilt, and the focus is easily adjustable by means of a micrometer screw. The enlarging table is large enough to accommodate standard 16 x 20 inch prints, and is equipped with a removable, adjustable base to facilitate handling of large negatives. The enlarger is also equipped with a conveniently located control panel, which includes a timer, a brightness control, and a switch for selecting the type of illumination (contact or enlarging). The enlarger is constructed of heavy-duty materials, and is designed for long life and reliable operation.\nA denser-type enlarger with the ability to produce print quality comparable to that achieved by diffusion type enlargers. A white opal bulb and spherical, matte-surface reflector introduce the desired amount of diffused light to minimize scratches or other blemishes on the negative surface \u2013 defects which are exaggerated by the specular light from a condenser enlarger of conventional design. Additionally, the tendency toward increased print contrast is avoided.\n\nTo assist workers with precise and rapid determination of exposure lengths when making enlargements of various sizes from negatives that differ in density and contrast, an Exposure Meter Bracket A is available as an accessory. This permits use of the No. 715 or No. 650 Weston Exposure Meter.\n\nDue to the rapidly-growing enthusiasm for making color prints, the Kodak enlarger offers these features.\nThe precision enlarger has been designed to bring new ease and accuracy to the making of fine quality color separation negatives. Two special glassless film carriers are available to hold miniature Kodachrome transparencies \u2013 one for 35mm., the other for Kodak Bantam transparencies. Each carrier has a built-in gray scale and three tiny color-separation filters. The gray scale records on each separation negative and provides a basis for comparing the density and contrast of the three. Each filter prints an identifying dot on the edge of the proper negative, and from the position of this dot, the operator can instantly determine the separation filter used in projecting that negative. The enlarger comes in three focal lengths and two complete series \u2013 one series intended for black-and-white work, and the other for color as well as black-and-white. Unlike camera lenses, which are optically complex and require regular maintenance, the precision enlarger's filters are simple and require no maintenance.\nThe projection lenses for the Kodak precision enlarger are especially corrected for maximum resolution when set at infinity focus. These lenses are designed for use at the ranges commonly employed in enlarging, copying, and similar short-distance work. Each lens is available individually, mounted in an aluminum lens board that fits into the enlarger.\n\nTwo Series Lenses\nThe modestly priced series of Kodak projection anastigmats, 2-inch, 3-inch, and 4-inch, all of f/4.5 aperture and with iris diaphragms closing down to f/22, are high-grade enlarging lenses.\n\nModern Movies, Inc.\ncomplete 16mm service\nPicture and Track Negatives and Prints machine-processed in our air-conditioned laboratory.\n\nOptical Printing\nTitles Special Effects\n\nKino-Hypar Lenses\nTake charming color movies of Vacation, Sport and Travel Scenes\n\nKodak's precision enlarger lenses are corrected to provide maximum resolution when set at infinity focus. These lenses are designed for use at the ranges commonly employed in enlarging, copying, and similar short-distance work. Each lens is available individually, mounted in an aluminum lens board that fits into the enlarger.\n\nTwo Series Lenses\nThe modestly priced series of Kodak projection anastigmats, 2-inch, 3-inch, and 4-inch, all of f/4.5 aperture and with iris diaphragms closing down to f/22, are high-quality enlarging lenses.\n\nModern Movies, Inc.\nFull service for 16mm\nProcessing of negatives and prints in our temperature-controlled laboratory.\n\nOptical Printing\nTitle and Special Effects\n\nKino-Hypar Lenses\nCapture captivating color movies of Vacation, Sport and Travel Scenes.\nFocal lengths from 15 mm. to 100 mm. can be fitted in suitable focusing mounts for Amateur and Professional Movie Cameras.\n\nGOERZ REFLEX FOCUSER\n- Patented -\nA boon to 16 mm. Movie Camera users - eliminates parallax between finder and lens - provides full-size ground-glass image magnified 10 times.\nAdaptable to Lenses 3\" and up\nAlso useful as Extension Tube for shorter focus lenses for close-ups\nExtensively used in shooting surgical operations, small animal life, etc.\n\nAddress Dept. AC-9\nC.P.GOERZ AMERICAN OPTICAL CO.\nAmerican Lens Makers Since 1899\n\nbibliography of motion picture literature in preparation by the Federal Writers\u2019\nThe New York City project has advanced to the final production stages, with galley proofs being edited. The volume will be distributed by the H.W. Wilson Company, which shares publication sponsorship with the Museum of Modern Art Film Library. It includes classified and annotated guides to approximately 10,000 books and magazine articles dealing with film making's creative and technical aspects. The book will also offer references to selected reviews of about 4,000 important films classified according to type. The book will sell for $10 per copy.\n\nHollywood offers a high-quality film suitable for outdoor use: Non-Halation, Fine Grain, Semi Ortho. It produces clear, sharp pictures. For outdoor use only. Suitable for use with an f3.5 lens on cloudy days. Buy film by mail and save.\n\nHollywood: $0.05 per 100 foot handling charge.\nOutdoor Film Roll: $0.10 per roll (minimum purchase of 2 rolls at this low price).\nPrice includes machine processing, spooling, mailing. Fits all 100 ft. cameras, wound on 1001 ft. daylight loading spools. 1/3 ca3h with COD orders. California buyers include sales tax.\n\nHollywoodland Studios\nSouth Gate Box 104, California\n428 American Cinematographer\nSeptember 1939\n\nGevart 9.5mm. Film in Hollywood\n\nOwners of Pathex and other European-made 9.5mm. cameras, who for some years have found it difficult to obtain 9.5mm. film in America, will be interested to learn that film of that size is now available through the Gevaert Company of America. Gevaert 9.5mm. film, in several types, is stocked by the Gevaert Hollywood branch, 6372 Santa Monica Boulevard. This branch also processes the Gevaert 9.5 film, as well as that firm\u2019s 16mm. and 8mm. products.\n\nPictorialists Hold Annual\nThe Twenty-third Annual International Photographic Salon of the Camera Club\n\n(Note: The text has been cleaned as much as possible while preserving the original content. Some minor formatting issues have been left as they may be intentional to the original text.)\nPictorialists of Los Angeles will be shown in Los Angeles Museum in January 1940, and M. H. De Young Museum, San Francisco, February 1940. Closing date is December 1, 1939. Entry fee: $1 or foreign equivalent. Address: Larry Lewin, secretary, Los Angeles Museum, Exposition Park, Los Angeles.\n\nPlanning a Vacation (Continued from Page 422)\n\nAgain \u2014 some of that sort of thing, you know \u2014 of the family leaving the car \u2014 some sort of shot to show that you have been away \u2014 the neighbors greeting you on your return.\n\nThe script does not have to be followed strictly like the laws of the Medes and Persians. You can add a bit here and there when you think the occasion demands \u2014 but you will have a story in story form, a story told in pictures, something you\u2019ll be proud of, and your friends will deservedly praise you for your artistry.\n\nNothing has ever been done well without...\nThis world lacks a plan and a little hard work. Don't work so hard that you take all the fun out of it, but don't be lazy either. A little work and a little study will repay you a million-fold. Something to be proud of\u2014a bit of artistry well done.\n\nGeo. W. Colburn Laboratory\nSpecial Motion Picture Printing\n1197 Merchandise Mart, Chicago\nWorld's Us<z\nin Daylight-FV<j Scovos-\nDiffusvJ Fecus and many other fed's\nGcorcjo H. Schico\nORIGINATOR OF EFFECT FILTERS\n1927 WEST 78\u2122 ST, LOS ANGELES, CAL\nAround the World's Studios\n\nThe same methods familiar in Hollywood, and has standing sets, complete streets, and the like, in great variety. They also have an open-air \u201clot,\u201d having \u201cfree horizon\u201d with a slope rising 150 feet high.\n\nThe system of production is practiced similarly.\nThe Ufa studios are similarly equipped as Hollywood studios, with the sole exception that in addition to utilizing these extensive facilities for their own production, they rent them out to smaller production companies. French Studios are Small.\n\nMy next destination was France, which hosts numerous production companies, none of which is large. Their stages and production system, with the exception of lighting and technical equipment, are surprisingly akin to India's.\n\nThe French stages are small, and there are no elaborate outdoor standing sets. The few studios I visited were constructed in the old, silent film era and were seldom used for many years until the advent of talkies. The natural impulse to produce pictures in the French language revitalized them, with the necessary physical changes for making sound films.\nFrance's film industry faces competition from American films, particularly in Hollywood. The dubbing of French dialog onto American pictures has hindered the French industry. I have seen a few of these American films with French dialog.\n\nFred Hoefner\nCinema Camera Shop\n915 N. La Cienega, Los Angeles, CA\nTelephone CRestview 5-7092\n\nCooke Lenses\nWith exacting tests that surpass current uses, Cooke Lenses provide assurance for both present and future needs. Speeds and focal lengths for every requirement. Write for descriptive literature.\n\nBell & Howell Company\nExclusive World Distributors of Taylor-Hobson Cooke Cine Lenses\n1848 Larchmont Avenue, Chicago\nNew York: 30 Rockefeller Plaza\nHollywood: 716 N. LaBrea Ave.\nLondon: 13-14 Great Castle St.\nIt is so cleverly done that hardly any difference can be found between the picture originally produced and the one with dubbed-in dialog. So, while French producers may at times make a remarkable film like \"Mayering,\" there is little inducement to do so since they cannot have satisfactory French dialog in films that have all the good points\u2014technical and box-office\u2014of American films. This, of course, is very much to Hollywood\u2019s advantage, but it makes it difficult today to say which way France\u2019s film industry will head.\n\nEngland's Dilemma\nIt was the greatest puzzle to me to find out which of the English studios was working when I went to England. I have heard that England has altogether some 76 stages, but most of them today are in a non-active condition. Some of these stages\u2014especially those in the newer studios\u2014are very big.\nThe British studios can in every way be compared to Hollywood stages. They have all the best equipment required for modern production and cannot be found inferior to Hollywood studios. In fact, they have several things I have not seen even in Hollywood. In some studios, they have a river, bridge, and even a full-scale railway train. As is equally well known, several British studios have made considerable use of Technicolor, and all the equipment necessary for making pictures in color is available there. At times, Hollywood studios have sent over production units to use British studios, and I am sure that the Hollywood people who have worked on these pictures have not found the facilities any less effective.\n\nMovola Film Editing Equipment\nUsed in Every Major Studio\nIllustrated Literature on request\nMovola Co.\n1451 Gordon St, Hollywood, CA\n8mm BULK FILM 16mm\nNON HALATION WESTON 8\nFine grain, semi-ortho. Can be used in any straight or double 8mm camera.\n200 ft 8mm in double 8mm width, $1.75\nFor titles, negatives, reversal, positives. Laboratory packed. Formulas included. Write for catalog on bulk film. 8mm, 16mm, 35mm.\nHollywoodland Studios\nSouth Gate California\nSeptember 1939\n\u2022 American Cinematographer 429\nLess excellent than what they are accustomed to having at home.\nFormerly, I understand, laboratory work in England presented a serious problem, but that is not the case today. In addition to several really good commercial laboratories, some of the larger British studios have their own laboratories, perfectly equipped and excellently staffed.\nThe English studios have everything needed to make good pictures \u2014 even excellent technicians \u2014 in case.\nThey want to produce more pictures. It is really very difficult to understand why these companies do not produce as many pictures as Hollywood studios, as they have every facility and can make them for the English-speaking audience - the widest market in the world.\n\nHollywood Impressions\n\nIt seems almost unnecessary, writing in a Hollywood magazine, to set down my impressions of Hollywood's studios. When I came to America, my impressions about the Hollywood studios were not so astonishing, as I had already expected to find them huge and complete.\n\nThe thing which I found beyond expectation is the marvelous system by which the studios work, and the number of productions they turn out. The departmental work, as I have seen, makes the work so much easier and better, and at times more interesting as well.\n\nEvery department has its own job.\nAnd it can be depended upon to perform it perfectly. Linked together by capable production management, this specialization inevitably makes pictures which for consistently high quality cannot be approached by any other method. It is really amazing for a foreigner to see men who in any other country would be heading their own organizations, taking their places as heads of individual production units or departments with the activities of all supervised and coordinated by a genius such as a Zanuck or Thalberg.\n\nIn the photographic field, it seems almost redundant to repeat that nowhere but in Hollywood is such an amazing array of the world\u2019s greatest photographic talent to be found.\n\nSpecial Process Impresses\nWhen, as we do in India and in many other lands, one has followed the work of cinematographers like Bert Glennon, A.S.C., and the other members of the Academy of Motion Picture Arts and Sciences.\nA.S.C. - as one might expect from a greatly admired teacher, it is inspiring to be able to watch these masters of the camera at work and to realize that assisting them are men who, in almost any other producing center, would be regarded as artists in their own right. Glennon, it may be added, was director of photography on \"Drums of the Mohawk.\" I was tremendously impressed with the work of the special-effects department. This is something quite unknown in my country, and I fear it is likely to remain so for some time. Process-shots are probably an old story to Hollywood cinematographers, but to a foreign visitor, the technical precision involved in making these shots and their artistic and economic value are a revelation. People often ask me how I find the Hollywood studios in comparison to those I have visited in other lands. It is:\n\n(Note: The text appears to be complete and free of meaningless or unreadable content. No corrections or translations are necessary. No OCR errors were detected in the input text.)\nTwo major production centers exist in the world today: Hollywood and India. I say this not only because India is my country and the base of my activities, but because the facts support this.\n\nHollywood produces more and better pictures than any other center due to its system of work and supreme organization. Hollywood's centralization of astounding technical and artistic resources is a necessary consequence of its volume production and marvelous organization. Hollywood makes pictures not for one or two countries, but for the world.\n\nNext to Hollywood come the Indian studios. They produce many good pictures, despite limited capital.\nAnd despite the limited resources, Indian pictures are made, in spite of the fact that the market for them is necessarily confined. India's studios are staffed almost entirely with native technicians and directors, nearly all of them necessarily self-taught, working with pitifully inadequate equipment. But they make pictures, and make better ones all the time as they learn more.\n\nThe first thing any cinematographer learns is the old saying that you can't put alibis on the screen. There is no practical benefit to be derived from telling what you are equipped to do and not doing it; or from sitting passively, dreaming of what you did yesterday, or might do tomorrow.\n\nHollywood and India do none of these things. They are active: they make pictures. In making pictures, they inevitably make mistakes; they turn out failures as well as successes.\nBut they both are always active, trying to make the best possible picture from the material at hand. They are the two vigorous, living entities in the world production map today.\n\nDEBRIE PRINTER\nSacrifice\nMatipo-S 35mm. Sound and Picture Printer. 20 automatic light changes. Bought to make dupe negatives, but not used due to change in requirements. Like new. Price only $1,000.\n\nThe Pathescope Co. of America\n33 West 42nd St. New York City\n\nCLASSIFIED ADVERTISING\n\nFOR SALE\n\nREBUILT SILENCED BELL & HOWELL with focusing shift-over and magnifier, three lenses, tripod, sunshade, finder, $1400.\n\nMOTION PICTURE CAMERA SUPPLY, INC.\n723 Seventh Avenue, New York City\nCable Address: Cinecamera\n\nThe world\u2019s largest variety of Studio and Laboratory equipment with the latest improvements as used in Hollywood at tremendous savings. New and Used. Mitchell, Bell-\nAkeley, De Brie, Howell, Eyemo - animation process cameras, lenses, color magazines, adaptors, lighting equipment, silencing blimps, dollies, printers, splicers, moviolas, motors, light-testers, gear boxes, synchronizers. Guaranteed optically and mechanically perfect. Send for bargain catalogue.\n\nHollywood Camera Exchange\n1600 Cahuenga Blvd., Hollywood, Calif.\nCable : Hocamex\n\nNew Precision Test Reel for Projection and Sound. Developed by prominent SMPE member. Combination visual, sound tests for all soundtrack adjustments. Indicates travel ghost, sidesway, picture jump, etc. Contains visual targets and constant level frequencies. W.E. Mirrophonic recording. Truly simplified, easily understood. Comparative value, $75.00. With full instructions, $29.60.\n\n16mm Bell & Howell Studio Sound Camera, like new, No. 859. Joseph Tilton, 920 S. Aiken Ave., Pittsburgh, Pa.\nBUY, SELL. EYEMO, DE, BELL & HOWELL, MITCHELL. CAMERAS\u2014 LENSES \u2014 MOTORS \u2014 8-16MM. MOVIE EQUIPMENT. BARGAINS IN LEICA \u2014 CONTAX\u2014 SPEED GRAPHICS \u2014 GRAFLEXS. TIME PAYMENTs. CAMERA MART INC, 70 WEST 45TH STREET, NEW YORK. WANTED\n\nWE PAY CASH FOR EVERYTHING PHOTO-GRAPHIC. Write us today. Hollywood Camera Exchange. 1600 Cahuenga Blvd., Hollywood.\n\n\"ini iv BUY CASH\n\nCAMERAS AND ACCESSORIES\nMITCHELL, B & H, EYEMO, DEBrie, AKELEY.\nALSO LABORATORY AND CUTTING ROOM EQUIPMENT\n\nCAMERA EQUIPMENT COMPANY, 1600 BROADWAY, NEW YORK CITY.\nCABLE: CINEQUIP.\n\nWANTED\u2014 LATE MODEL AKELEY CAMERA.\n\nWhat have you? Nelson Edwards, 111 West Lexington Street, Baltimore, Maryland.\n\nPOSITION WANTED\n\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.\nLAB AND SOUND EXPERT, Graduate Electrical Engineer, fifteen years experience, modern methods manufacturing and operation studio equipment. References major Hollywood and Foreign studios. Go anywhere.\nLeslie Taft, 5653 DeLongpre Ave., Hollywood.\nAmerican Cinematographer \u2022 September, 1939\n\n\"Yes, My Movies Do Look Much Better Now...\nAsk your dealer to show one of your own films with a Filmo, so you can see the difference it makes. Then find out about the generous trade-in allowance he will make on your old projector.\n\nNEW, FINER 16 MM. SILENT PROJECTOR . . .\nTHE FILMO-MASTER\n\nFilmo-Master offers deluxe features hitherto found only in higher-priced Filmos. Is fully gear-driven, even to the reel spindles. Its 750-watt lamp provides brilliant illumination. The Filmo-Master is the answer to your demand for a high-quality, economically priced projector.\nWatt lamp, fast F 1.6 lens, and Magnilite condenser assure brighter 16 mm home movies. Has power rewind, separate lamp switch, lens focus lock, pilot light, two-way tilt, and many other features. Capacity: 400 feet. Complete with case, $139. Other 16 mm silent projectors to $412.50.\n\nFilmo 8 mm Projector provides 400- or 500-watt illumination for brilliant pictures as wide as six feet! Flicker is banished by 11-to-1 shutter movement. Rock-steadiness is assured by camera-matched film registration system. Filmo 8 is fully gear-driven. Has rectangular shuttle-tooth action, recessed film handling parts, and other features to give complete film protection. Capacity: 200 feet. With case, $118.\n\nEnjoy Your 8 mm Movies at Their Best!\n\nFilmo 8 mm Projector provides 400- or 500-watt illumination for brilliant pictures as wide as six feet. Flicker is banished by 11-to-1 shutter movement. Rock-steadiness is assured by camera-matched film registration system. Filmo 8 is fully gear-driven. Has rectangular shuttle-tooth action, recessed film handling parts, and other features to give complete film protection. Capacity: 200 feet. With case. $118.\n\nEntertain At Home With Talking Pictures!\n\nFilmosound \"Academy\" projects both the 16 mm sound films you can select from thousands.\nAvailable at moderate rentals, your own 16 mm. silent movies, as well as the option to add a microphone for running commentary or a phonograph turn-table for musical accompaniment. Complete in two compact cases, the \"Academy\" costs $298. Other 16 mm. sound film projectors cost up to $1500. Bell & Howell Company, Chicago, New York, Hollywood, London. Established 1907.\n\nSound Films for Home Entertainment\nFilmosound Library has thousands of 16 mm. sound films for reasonable rental and home showing with your Filmosound. Write for free list, including recent Hollywood hits, travelogs, comedies, and other films.\n\nPrecision-made by Bell & Howell\nHave a new projector\n\nBell & Howell Company\n1848 Larchmont Ave., Chicago, Ill.\n\nPlease send me details on ( ) New Filmo-Master.\nMITCHELL CAMERAS\nJ'Dh* Oil Vyiaion^ (pkhihSL U)oaJl\nOne of the following will fill Your requirements.\nSTUDIO MODEL\nSOUND MODEL\nSTANDARD HIGH SPEED MODEL\n(2 Twtcurfl Qatmha)\nJoh fcvsuuj (pJUJlpOM)\nMITCHELL CAMERA CORPORATION\n665 North Robertson Boulevard\nWest Hollywood, CA\nCable Address \"MITCAMCO\" phone Oxford 1051\nAGENCIES\nBell & Howell, Ltd., London, England Motion Picture Camera Supply Co., New York City\nCLAUD C. Carter, Sydney, Australia Fazalbhoy, Ltd., Bombay, India\nD. Nagase & Co., Ltd., Osaka, Japan H. Nassibian, Cairo, Egypt\nOctober 19--\nForeign 35mm\nPublished in Hollywood by\nAmerican Society of Cinematographers\nHome Movies Need Sound\nSprungman\nSmoothing Vacation Movies\nIndia's Film History\nBERKO\nDensitometry and the\nLaboratory HUSE AND CHAMBERS Shooting Stills in Kodachrome COTTRELL letter and Faster 8mm. STULL Moving Pictures Moved by Stills BLAISDELL Quality for the Amateur SHERLOCK Cinecolor's Contributions to Color CRESPINEL John Grierson: Documentaries WB \"City of Lost Men\" \u2013 Arthur Edeson, A.SC. A Co n& Latent (Penjaman) ' \u2014 > Wide latitude and a long scale gradation give Superior Pan its great versatility. Its high standard of uniformity makes it dependable. For your next schedule of production rely on the established excellence of Du Pont Superior Pan.\n\nDu Pont Film Manufacturing Corporation INCORPORATED 9 Rockefeller Plaza SMITH & ALLER, LTD. New York \u2013 6656 Santa Monica Blvd. Plant . Parlin, N.J. Hollywood, California. BETTER THINGS for BETTER LIVING through CHEMISTRY\n\nNew Viewfinder Turret ^\nf Mounts Three Viewfinder Objectives. Provides\nConvenience, Speed, and Accuracy.\n\nEYMO can be equipped with a 400-foot external magazine, offset turret, electric drive, and other studio accessories, or it can be stripped down to a light, compact, spring-driven hand camera.\n\nPrecision-made by Bell & Howell Company\nAcio-36, 1848 Larchmont Ave., Chicago, Ill.\n\nSend details about new, improved Eyemos.\nI own Eyemo Serial No. Am interested in converting it to include:\n\nName.\nAddress.\nCity.\nState.\n\nHas a New Positive Viewfinder!\nBell & Howell engineers have scored again! The versatile Eyemo now has a \"positive\u201d viewfinder and a new finder turret which mounts three matching viewfinder objectives.\n\nWith this new \"positive\u201d viewfinder, there is no masking to reduce the field. A large-size image always fills the entire finder aperture for all lenses of any focal length.\nThis new Eyemo finder eliminates eye parallax. Your eye wandering from the eyepiece center still shows the EXACT field to be filmed. With three matching finder objectives on a turret for instant readiness, the Eyemo's versatility and dependability in portable cameras are unsurpassed. No other camera offers such capabilities. For information about this 35 mm. camera, mail coupon to Bell & Howell Company, 1848 Larchmont Ave., Chicago; 30 Rockefeller Plaza, New York; 716 N. LaBrea Ave., Hollywood; 13-14 Great Castle Street, London. Established 1907.\n\nOther Recent Eyemo Improvements:\nMany Eyemo owners are converting their cameras to include these changes. Reasonable conversion charges apply. Write for details.\nNEW FLAT BASE - 21/2\" square, with dowel holes, provides perfect seating on any flathead tripod.\n\nLENS MOUNT LOCKING SCREWS lock each lens in focus!\n\nTURRET LOCK for Eyemos with offset turret ensures alignment even with long, heavy lenses.\n\nDETACHABLE CORD now supplied with electric-drive models.\n\nOctober, 1939\n\nAmerican Cinematographer 435\n\nA Technical and Educational Publication on Motion Picture Photography.\n\nPublished monthly by the American Society of Cinematographers, Inc.\n\n1782 North Orange Drive, Hollywood (Los Angeles), California\n\nTelephone GRanite 2135\n\nJohn Arnold, President\nAL Giles, Secretary-Treasurer\n\nContents\n\nHow moving pictures are moved by stills . 438\nBy George Blaisdell\n\nForming cooperative amateur production units . 441\nBy Bill Seineke Jr.\n\nJohn Grierson: Maker of documentaries... . 442\n\nCinecolor makes contribution to color . 443\nBy W. T. Crespinel\nBy William Stull, A.S.C.: 445 Building a novel projection stand\n4000-mile cruise at sea for Australian photographers: 448\nHome Movies require sound: 449 By Ormal I. Sprungman\nSmoothing rough spots off vacation movies: 452\nFaster film and better equipment for 8mm: 454 By William Stull, A.S.C.\nApplying common sense to shooting stills in Kodachrome: 455 By Harry Cottrell\nNew England inquires: Why not use authentic locations? 459 By Stanley and Maryjane Bean\nQuality for the amateur cinesmith: 462 By James A. Sherlock\nSt. Paul Club tests Cine-Kodak Super-X: 464\nIndia\u2019s film history passes in review: 465 By F. Berko\n22 films entered in Australia\u2019s contest: 466\nAmerican Annual of Photography is out: 473\nDensitometry and its application to motion picture laboratory practice: 468 By Emery Huse and Gordon Chambers\nAgfa issues new texture screens and border mask: 476\n[Burgess Meredith, John Garfield, Guinn Williams, and Ed Pawley stand next to prison rail, left to right. Tom Branigan, Arthur Edeson (ASCC), and Roy Noble are on the camera boom, also left to right. Director Anatole Litvak and assistant director Chuck Hansen are directly under the camera platform. Garfield and Ann Sheridan co-star in \"City of Lost Men.\" Camera crew watches the scene with interest.\n\nPhoto by Longworth\n\nEditor: George Blaisdell\nWashington Staff Correspondent: Reed N. Haythorne (ASCC)\nTechnical Editor: Emeryi Huse (ASCC)\nAdvisory Editorial Board: Victor Milner (ASCC), James Van Trees (ASCC), Fred W. Jackman (ASCC), Farciot Edouart (ASCC), Fred Gage (ASCC), Dr. L.A. Jones (ASCC), Dr. Herbert Meyer (ASCC)]\nCirculation Manager: L.F. Graham, New York Representative: S.R. Cowan, 19 East 47th Street, New York. Phone: Plaza 3-0483.\nForeign Representative: Georges Benoit, 100 Allee Franklin, Pavillons-sous-Bois, Seine, France. Telephone: LeRaincy 13-19.\nAustralian Representative: McGill\u2019s, 179 Elizabeth Street, Melbourne, Australian and New Zealand Agents.\n\nNeither the American Cinematographer nor the American Society of Cinematographers is responsible for statements made by authors.\n\nEstablished 1920. Advertising Rates on application. Subscription: United States, $2.50 a year; Canada and the Pan-American Union, $2.60 a year; Foreign, $3.50 a year. Single copies, 25c; back numbers, 30 cents; foreign, single copies, 36 cents; back numbers, 40 cents.\n\nCopyright 1939 by American Society of Cinematographers, Inc.\nEntered as second class matter November 18, 1937, at the post office at Los Angeles, California, under the Act of March 3, 1879.\n\n436 American Cinematographer \u2022 October, 1939\n\nIt's a gain in your screen results, too!\n\nYou can depend on Agfa\n16mm. Hypan Reversible and\n16mm. Triple S Superpan Reversible.\nThese two great films are your assurance of the best possible movies under all conditions.\n\nHypan Reversible with its high speed and exceptional brilliance is particularly suitable for outdoor work. Fine-grained and fully panchromatic, Hypan will give you amazingly fine screen results of great depth and clarity of detail.\n\nThe new Triple S Superpan Reversible is ideal for indoor work and for slow-motion filming under difficult light conditions. Its extreme speed and balanced contrast make practical the shooting of scenes hitherto impossible.\nRemarkably fine grain, brilliant graduation, full color sensitivity and an exclusive anti-halo under layer assure the quality of your screen results. Both Hypan and Triple S Superpan are available in 100 ft. rolls at only $6.00; in 50 ft. rolls at only $3.25. Prices include processing and return postage.\n\nMade by Agfa Ansco Corporation in Binghamton, New York, USA.\n\nHYPAN AND TRIPLE S SUPERPAN 16mm. FILMS\n\nHow moving pictures are moved by stills\n\nOVERVIEW OF THE MOVING PICTURE INDUSTRY:\nMoving pictures made this industry, but still pictures have kept it alive.\n\nIf true several years ago, when spoken by a pioneer showman, the words have more weight today. Let's briefly review a few facts. It is Hollywood's business to make pictures. The job of selling them - trying to sell them would be more precise - has arisen. The day has passed when exhibitors had only to open their doors to attract customers. Today, competition is keen, and the exhibitor must make every effort to attract and hold his audience. The moving picture industry is a vast one, with many branches and many problems. Let's examine some of the more important ones.\nDoors then get out of the way to avoid the rush. Movies have lost their initial novelty. An enticing younger woman, radio, offers her charms for free. Newspapers and magazines, quickening to new tempos, use more features, lavishly illustrated \u2014 entertainment. A host of seeming non-competitors, like the weekend service station man, take a larger slice of the diminishing amusement dollar.\n\nSeeing is desiring.\n\nTo offset these facts, Hollywood is turning out better pictures than ever before. And to market those pictures, it is relying on showmanlike publicity, with the latter\u2019s good, hard-hitting right arm being art \u2014 stills that sell.\n\nSeeing is still believing to most people. It is also desiring, the way Hollywood publicity art functions today.\n\nHow better, for example, arouse interest in a new glamour girl about to start a picture than flash her smile?\nDozens of magazine covers at once? How better stir the senses during production than insinuate her seductiveness into layouts, portrait studies, and arresting strip ideas in a thousand publications? Every move planned.\n\nAnd, when her picture nears the zero hour of local release, how better whip interest to the buying point than by taking advantage of reminder value and letting her likeness caress the eye in posters, newspaper ads, and lobby frames, all saying, \u201cHere she is! Come and get it!\u201d\n\nPublicity art is a complex collective. George Brown, director of publicity, Columbia film studios (left). A.L. \u201cWhitey\u201d Schafer, portrait photographer, Columbia film studios.\n\nThe word means, briefly, many pictures in many places. And always for a specific reason, because if the shot doesn\u2019t fit into a definite sales plan, its shutter should never have clicked.\nArt is today conceived well in advance and as a unit of the general sales campaign. Long ago is the day when a harassed cameraman tagged after the filming troupe, grabbed a few production shots when he could, then considered the picture covered.\n\nTo illustrate current Hollywood technique, it's simplest to take one studio in relation to one picture. Consider, then, Columbia and \u201cMr. Smith Goes to Washington,\u201d the latest Frank Capra production. George Brown heads the publicity department at Columbia and supervises all art. A.L. \u201cWhitey\u201d Schafer is in charge of the still department, and Irving Lippman was the still photographer assigned to the picture.\n\nFor a better understanding of their joint task, it's necessary to sense the scope of the Capra comedy drama.\n\n\"Mr. Smith Goes to Washington\" is easily the director's most pretentious production.\n\nGeorge Brown, head of the publicity department at Columbia, supervises all art for the studio. A.L. \"Whitey\" Schafer oversees the still department, while Irving Lippman served as the still photographer for the picture.\n\nUnderstanding their collaborative role requires recognizing the breadth of Capra's comedy-drama, \"Mr. Smith Goes to Washington.\"\nThe story ranges from a colorful small town to the nation's capital and utilizes forty-three distinct settings en route.\n\nSpeaking parts total 168, a near record-breaking number. Since not all of the film was made at the Gower Street studio, the still department was often compelled to function far from its base. The company was constantly on the move, to the studio's Melrose Avenue annex or the ranch in Burbank, or to difficult location sites in Los Angeles' downtown streets.\n\nAnother factor was the number of important players. So many more people had, photographically, to be given \"the works.\" \"Mr. Smith Goes to Washington\" co-stars Jean Arthur and James Stewart, and the number of supporting players, truly \"too numerous to mention,\" includes Edward Arnold, Thomas Mitchell.\nMitchell: Claude Rains, Guy Kibbee, Ruth Donnelly, Eugene Pallette, Beulah Bondi, Harry Carey, Astrid Allwyn, H.B. Warner, Porter Hall, and Grant Mitchell.\n\nColumbia's publicity department began work before the mimeograph ink had fully dried on the script, several weeks before shooting started. George Brown, as he always did with important productions, read the script first. Columbia's publicity director, a veteran in the sales, advertising, and exploitation fields, read analytically, seeking points of attack.\n\nDrafting stills:\n\nHe indicated how production scenes were to be covered and, in the margins, noted ideas for strips, layouts, exploitation shots, and such. This preliminary attack required several days. When he finished, the script bore as much copy on its margins as in the body of the text.\nNext, Brown went into conference with Schafer, who would have to realize the former's plans in celluloid. They went over all aspects of the undertaking before them and drafted an outline of all stills to be taken.\n\nOne of the great casts in motion picture history enacts Frank Capra's \"Mr. Smith Goes to Washington,\" a Columbia comedy-drama, with Jean Arthur and James Stewart in the romantic leads. Here are, left to right, Harry Carey, Astrid Allwyn, Beulah Bondi, Eugene Pallette, Thomas Mitchell, Claude Rains, James Stewart, Frank Capra, Jean Arthur, Edward Arnold, Guy Kibbee, Ruth Donnelly, Grant Mitchell, Porter Hall, and H.B. Warner. Composite Photo by A.L. Schafer.\n\nFor \"Mr. Smith Goes to Washington,\" came under the following classifications:\n\nSeven Departments\nSTRAIGHT PORTRAITS \u2014 Singles, doubles and groups of leading players.\nCHARACTER PORTRAITS \u2014 The same, but as the players appear in the picture.\nADVERTISING \u2014 Character portraits with action shots that are slightly broader in feeling for use in poster and other outdoor advertising.\nFASHION \u2014 Feminine players in styles that will be in vogue for many months; some sittings in color.\nEXPLOITATION \u2014 Art in which players pose with nationally advertised merchandise.\nPRODUCTION \u2014 Actual scenes from the picture taken during the period of filming.\nPUBLICITY \u2014 Including art sometimes called informal and offstage; strips, layouts, \u201cgag\u201d ideas, seasonal stunts, montage, etc., intended for news papers, magazines, news syndicates, wire services and other recognized outlets.\n\nCharacter portraits: the same but as the players appear in the picture.\nAdvertising: character portraits with action shots that are slightly broader in feeling for use in poster and other outdoor advertising.\nFashion: feminine players in styles that will be in vogue for many months; some sittings in color.\nExploitation: art in which players pose with nationally advertised merchandise.\nProduction: actual scenes from the picture taken during the filming period.\nPublicity: including art sometimes called informal and offstage; strips, layouts, \u201cgag\u201d ideas, seasonal stunts, montage, etc., intended for newspapers, magazines, news syndicates, and wire services.\n\"ington was taken in the order of listing. A new working principle reveals itself. Columbia endeavors to take the bulk of its portrait, advertising and exploitation art before a picture ever starts. Thus, when set cameras start to turn, the unit photographer can concentrate on production stills and timely publicity art. And a wealth of photographic material being already available, layout men and artists can get a flying start on the pressbook, posters and exhibitor accessories.\n\nThe several hundred stills comprising the comprehensive key set for \u201cMr. Smith Goes to Washington\u201d divide fairly evenly between gallery work and set shots. As explained, the former came first.\n\nBrown and Schafer, working in close collaboration, arranged sittings as rapidly as players were signed. Schafer personally did the gallery photography,\"\nUsing the finest specialized equipment, some of which he helped develop and perfect during his long Hollywood career. Columbia\u2019s gallery, located in the stars\u2019 dressing room building, is ultra-modern in equipment. The camera is an Agfa Ansco of the portrait type, fitted with adjustable standards which permit operation from floor level to a height of nine feet. Two lenses may be used: a 20-inch Cook f/4.5 and a 16-inch Heliar f/6.8. The shutter of the Heliar can be synchronized with a flash gun, thus making it possible to shoot fast-moving action under portrait conditions. A noteworthy feature is the lighting equipment, all of Saltzman manufacture. The 1500-watt keylight is a marvel of flexibility. It is suspended microphone-fashion on the end of a boom and supported by a counterbalanced stand.\nJames Stewart (being carried by senators in foreground) and players in a scene from Columbia\u2019s \u201cMr. Smith Goes to Washington.\u201d Photo by Irving Lippman.\n\nThe base of the standard, when rolled next to the camera, permits easy, one-handed operation of the keylight. Because it is of the pre-focused type, the lamp in the keylight does not project the image of its element.\n\nAn overhead spotlight and a floodlight, each of 1000 watts, complement the keylight and are sufficient for most gallery work. The floodlight is mounted like the keylight, on the end of an adjustable boom. Further, it is fitted with a spun-glass diffuser, considered far superior to the ordinary screen.\n\nAnother interesting feature of the gallery is its overhead monorail system. The rail is supported from the ceiling at a height of eighteen feet. Lamps can be hooked to the track and moved along it for lighting adjustments.\nMoved anywhere at will. Kodachrome used in Stills. Considerable color photography figures in the excellent art campaign developed for \"Mr. Smith Goes to Washington,\" and all this work was done in Kodachrome. The resulting transparencies are sent in that form to magazines that prefer to make their own separations, otherwise the breakdown is made by the studio.\n\nIrving Lippman, the unit still man, used three cameras in his daily work on the sets. His standby, of course, was the 8x10 Agfa Ansco view camera, in this case equipped with a 12-inch Goerz Dagor f/6.8 lens. For all news, syndicate and action art, Lippman employed a 4x5 Speed Graphic with synchronous flash. To supply all the current outlets for candid camera photography, he took hundreds of Leica shots, the camera using 35mm motion picture film.\n\nAll of Columbia\u2019s Leica photography,\nIt's worth noting that \"Mr. Smith Goes to Washington,\" produced by Capra, is exceptional. The film, Capra's greatest screen achievement, and the art campaign created to sell it, both set new precedents for movie production and marketing.\n\nAmerican Cinematographer, October 1939\nFORMING COOPERATIVE AMATEUR PRODUCTION UNITS\nBy Bill Seineke, Jr\n\nWhile it's true that for some time, amateur cinematographers have come together to jointly produce scenario pictures, such organizations have been the exception rather than the rule. A reliable source informs us that the practice of working in crews has been more widespread.\nIn England, opportunities for amateur production are greater than in the United States. This may come as a surprise, as Americans are often characterized as excellent organizers. However, if American amateurs are slow to recognize the relatively vast number of opportunities available through cooperative production, it is our hope to provide impetus for this movement in the country. We propose to do so by recommending several basic principles for organizing amateur production units. These recommendations are based on experience in the field, experience that has shown pitfalls to be avoided which can otherwise result in significant and unnecessary costs.\n\nMost commonly expressed is the complaint: \"But I can't get next to anyone who will do it!\" What do you mean, \"do it\"? Write, act, direct. Attend to the countless details essential to the very beginning of producing a scenario picture.\nAdvanced amateurs, sated with the sort of thing they have done for years, are as vociferous in their complaints as the beginner who wants to plunge squarely into dramatic production. The cinematographer with whom we have gained some insight into the intricacies of ambitious moviemaking said, when we had completed one short: \"I've been looking for someone like you for years.\"\n\nHe meant that he was tickled to death to find people who would share his enthusiasm for cinematography, and (most important) who would stick with him until the finished production was stamped with their joint approval. We were equally thankful to find a man who echoed our own ambition to stage good drama convincingly and entertainingly. We said \"stage\" because previous to joining forces with him, our avocational medium had been the amateur stage.\nThe theater is a world of cues and prosceniums and footlights. Since our meeting, a whole panorama of fascinating projects has been revealed to us both. He acknowledges our ability to manufacture and render story and histrionics. We recognize that he is an above-average technician, among the topnotchers in amateur cinematography. Our association has been productive and more than satisfactory to date.\n\nStrong on Alibis\nAstonishing to us was this man\u2019s statement that he had been unable to find needed amateurs from other fields who would sync with him. And as if to demonstrate that the condition is epidemic among cinematographers, we are hearing the cry repeated almost verbatim by members of our expanding circle of cinema-minded acquaintances.\n\nWe can arrive at only one conclusion. The average cinematographer must be unaware of the potentialities within his reach.\nHe must be oblivious to the indisputable fact that individuals near him welcome opportunities to write, direct, and act in amateur motion pictures. Such people even organize groups for the betterment of their respective amateur skills. Probing deeper, we have found the reason.\n\nWhen he seeks cooperation from his friends for an amateur movie, responses include: \"I can't act.\"; \"I take a terrible picture, it ages me.\"; \"I can't give up my Sunday golf.\"; \"I'm tied down (married).\"\n\nAll valid alibis, some of which can be gotten around. However, instead of showing the hopeful camera addict that he is on the wrong path, they usually cause him to become discouraged. Eventually, he gives up the idea.\nThe scenario picture is taken by a person who enjoys photographing his friends during their Sunday golf games and when they're not looking. Scenario Film\n\nOccasionally, his friends humor him. The picture is made in a good-natured, slipshod manner, resulting in a pretty awful outcome. We have described the situation as it unpleasantly exists. We believe you will concur it is an accurate portrayal of most amateurs.\n\nTurning to the first step in creating your scenario film, the acquisition of a writer is likely the most challenging hurdle. Once secured, he will assist in the story selection, your second hurdle. Together, you can more easily assemble the personnel of your company, which will be your third.\n\nThe writer should possess, among other things, the ability to dramatize. So, if you have the opportunity to make a choice,\nChoose one whose expertise is playwriting. Finding such a person is your task, but we suggest you may find him in the employ of a newspaper or attending a night school class in creative writing. He could be, vocationally, a cement finisher or the floor manager in a women's apparel shop. But, surely, one of your friends has a friend who has a friend who can write. Don't balk at the length of time you may have to spend to locate this man. What he can do for you will be worth it.\n\nStage and Screen\n\nIf you are very lucky, your writer will possess a knowledge of certain fundamentals of camera technique. If you are wise, and he is not educated in this respect, you will see to it that he acquires that knowledge. You will show him how much greater is the scope of the camera than that of the stage. In return, he will remind you of the unique aspects of the stage that the camera cannot capture.\nYou of restrictions imposed because of the necessity to use written subtitles instead of spoken dialog. Attend movies together. Later discuss them thoroughly. Absorb what you both can of the technique of dramatizing story material for the screen. Assuming that your writer is a dramatist and can translate what he has written into convincing dramatic action, by all means make him the director of your company. If he has written plays, he has probably taken part in them. The mechanics are as clear to him as the function of your camera to you.\n\nOctober, 1939 \u2022 American Cinematographer 441\n\nJohn Grierson: \"Maker of Documentaries\"\n\nHollywood has been visited during a part of September by a man in whom it has manifested a lively interest, an interest in what he has accomplished and in what is felt he will.\n\n(Continued on Page 476)\n\nJohn Grierson: A Pioneer in Documentaries\nJohn Grierson is heading to Australia and New Zealand upon the invitation of both countries' governments. He may accept, unless called back to England for war-related work. Grierson has been invited to conduct a survey for the Australian government regarding the use of films for departmental services and on a national scale. His role includes bringing news from one part of the country to others and projecting common themes to all parts. Presenting the country to other nations is also a significant function of documentary films. This aligns with the spirit exhibited by the British and Dominion governments.\nThroughout the Empire, including Canada, South Africa, and New Zealand, efforts were made to widen the influence of films. Canada took the lead last year by coordinating activities under a national film board and appropriating a sum of money for national films distinct from department films. Other governments did the same.\n\nMany Activities\n\nGrierson was active in building up the English documentary film school, as well as the Empire Library, E.M.B. film unit, and then the G.P.O. unit. He also created the service for road showing.\n\nBetween five and six hundred documentary films have been produced over the past ten years. Some were made earlier, such as \"Nanook of the North\" in 1920. At that time, we did not know it was a documentary. We knew it was different. For example, it had no lovemaking in it and yet it was box office. Omission of that was a matter\n\"Robert Flaherty identified the following productions as the most important and influential for the growth of Documentary: \"Drifters\" (1929), a film about the North Sea herring fleet; \"Industrial Britain\" (1933), depicting craftsmanship in the industrial Midlands; \"Weather Forecast\" (1934), collecting and disseminating weather information; \"Night Mail\" (1936), showcasing modern organization through the nightly journey of the postal special from London to Scotland; \"Housing Problems\" (1935); \"Children at School\" (1937), surveys of the English educational system.\"\nThe film \"London's Jubilee\" (1938) under Grierson's direction, consisted of historical reconstructions and contemporary activities, categorized under social problems. Grierson's involvement in films exceeds three hundred, in various roles.\n\n\"Uncharted Waters\" (1933), produced by Grierson, documented the initial stages of a Labrador coast survey by the Admiralty survey ship Challenger. \"Coal Face\" (1936), an impressionistic survey of Britain's coal industry, was also produced by him. \"We Live in Two Worlds\" (1937), a film on national and international communications with a focus on the telephone, was another of his productions. In 1933, Grierson also produced \"Aero-Engine\".\nThe technical processes of manufacturing and testing aeroplane engines, along with their behavior in the air, are covered in \"B.B.C.: The Voice of Britain\" by Grierson. This production showcases the organization and social implications of national radio in Britain. \"Lancashire at Work and Play,\" produced by Grierson in 1933, is a survey of Lancashire's industrial development over the last hundred years due to the power of steam, coal, and electricity. These films illustrate the range and character of the films in the Grierson list. In an informal talk made on September 9, 1933 at Bell & Howell auditorium to a group of teachers, the visitor stated, \"Primarily I am an educationist.\" No better definition of the meaning of the documentary film can be given.\nThe documentary film has always seemed to enjoy an importance beyond itself. This importance is best explained by relating the documentary film to the needs of our time. Some documentary practitioners have adopted it for the simple and good reason that it gave them a chance to play with certain inherent powers in the medium. Others have seen in it an opportunity to make contact with the living materials of the contemporary scene and to do so on the most honest terms possible in the cinema world. But the drive for documentary films has a deeper bearing still. There was a time when we said that the special virtue of the documentary film lay in its capacity to 'cross gaps.' We meant the gap between the city and the country, between the classes, between races and nations.\nWe had a sense of the gaps between the schoolroom and the community, the research station and the farmer, the modern organization and its members, or the modern organization and the people it served. Conscious of a failure to comprehend the fast-moving, complex forces of modern society, we believed that principles of education needed to change and new instruments of comprehension had to be developed. We posited that these instruments had to be dramatic, as academic and rational measures were insufficient to grasp the scope and impact of corporate and vital forces at work.\n\nIn the documentary uses of the radio, we saw potential for these dramatic instruments.\n\"and the film we saw new ways of educating public opinion in a democracy. They were dramatic and popular media. They had within them the magical powers of comprehension we sought. \"They were capable of establishing a continuing living contact between the individual and the vast drama of giant forces in which he too inconsequentially wandered. We conceived of a new educational system which would complement the pedagogic services of the schools and give people a sense of their citizenship.\" Mr. Grierson declared the cumulative circulation of the documentaries was great. He added that the good documentaries made top money in the best theatres and made the widest appeal among those audiences more fortunate in the way of education. \"A non-theatrical subject is not necessarily a step-child. Far from it,\" he declared.\"\nCinecolor, in line with its conservatism, withheld announcements of its two new products to the trade until exhaustive tests proved regular production could proceed. For over four years, Cinecolor's research engineers, under Alan Gundelfinger's guidance, worked on the elusive problem of producing color prints in a single layer of emulsion, providing the trade with a film having the same characteristics as regular black and white but in natural color. A second development, now perfected, is the production of 16mm prints in color and sound at a price that has met with such response that this department will need to work sixteen hours a day to begin accommodating the continuous commitments presented to the company. Must be commercial.\nReviewing the single-coated process, we are forced to look back over the art for nearly thirty years, where we find that attempts to accomplish this same result became the problem for color workers. Patents were granted to many inventors, such as C.P. Christensen, F.W. Kent, T.P. Middleton, F.W. Donisthorpe, W.F. Fox, F.E. Ives, W.V.D. Kelley, and so on.\n\nSince this type of film existed only sporadically on the market, it is obvious that the producer has been one of the two producer members of the British Cinematographic act film council since its inception. The producer controls the industry in respect to the act.\n\nDuring his short stay in Hollywood, Mr. Grierson was asked to address members of the Academy at its theatre in Gordon street \u2014 it proved to be a full house.\nThe house refused to go home before 11:30, in addition to the meeting at Bell & Howell's previously mentioned. Various methods were employed, but they lacked the fundamentals necessary for success. W.V.D. Kelley may have progressed further than any other inventor, as he processed a quantity of color film in his New Jersey laboratory about fifteen years ago.\n\nHowever, a study of the methods suggested by these color-experimentors indicates that their various systems were not fundamentally sound, results uncertain, and cost, from a commercial viewpoint, beyond good business practice. Thus, Cinecolor's problem was to produce a fundamentally sound product from a processing perspective and consider the all-important question of possible reduced cost.\nOur customers would derive a twofold benefit. As we have mentioned, serious experiments were started about four years ago. In the intervening period, at least ten different ideas have been attempted, each one carried out to the ultimate, until the attempts narrowed down to one method, which method is now in operation at Cinecolor\u2019s Burbank plant. The employed methods being protected by patents and patent applications, both in this country and abroad.\n\nNew Product Superior\nResults have proven that this new product is superior in quality to the old double-coated film, cheaper to produce, finer grain, possesses truer color rendition and, since single-coated film is a more desirable type of stock to make than double-coated film, from a manufacturer's viewpoint, prints on single-coated film are much cleaner than on the old double-coated film.\nCinecolor announces the following facts to the trade: Another vital point is that double-coated prints have been a problem for theatre projectionists. Change of focus over black and white is necessary, and splices must be made by scraping the emulsion from opposite sides of the two pieces of film to be joined. Because the film has an emulsion on each side of the base, the prints are more susceptible to scratches than regular film. All of these objections are automatically eliminated by Cinecolor\u2019s new product. Regarding 16mm: Cinecolor recognized the demand for this type of film as far back as 1932, when the company was formed. For several months, tests were made.\nThe 35mm mittments required a slowing down of the 16mm work, eventually leading to a complete stop in favor of standard film. Cinecolor's new plant allocated ample space for printing and processing the 16mm type. Extensive thought went into the type of machines to use, and after an exhaustive survey of all possible equipment on the market, Cinecolor decided to construct its own printers and processing machines.\n\nAs an example of the production care taken in creating the individual machines, one year was spent on designing and building the equipment. All 16mm film must be on acetate or safety base, as this type of film becomes extremely unruly when submitted to liquids. Careful design was necessary for the processing.\nMachines are used to overcome stretching, shrinking, and warping, which is an inherent weakness of safety stock. Considerable thought was given to sound. Very often, 16mm. sound is vastly inferior to the original from which it is made. Cinecolor\u2019s engineers have developed a new type of positive sound track, which is entirely new and novel. Indications are that it will reproduce sound equal to the same track made on 35mm., provided the sound head through which it is projected is in first class condition.\n\nBy the system Cinecolor employs, the cost of prints is reduced to a price which is the lowest in the history of color 16mm. prints.\n\nCinecolor Makes a Contribution to Color\nBy W. T. Crespinel\nOctober, 1939 \u2022 American Cinematographer 443\n\nSpeaking of Negatives\u2014\n\nEastman Plus X Panchromatic speaks for itself\nin a language universally understood\u2014\nThe worst thing about home movies is having to show them at home. This means in most cases that every time you want to project film \u2013 whether it is a 50-foot roll or an evening's program \u2013 you have to clear the living-room table, rearrange furniture, and swish around with electric extension cables before and after each projection. In addition, the average living room or dining room table, while an eminently steady base for a projector, is seldom of the right height to match your screen. Therefore, you either have to tilt your projector, often distorting the picture noticeably, or build things up to the right height with a pile of books or magazines. The whole thing smacks more of ordeal than of fun.\nI. Making a Practical Projector Stand for Less\n\nDespite the availability of handy, tripod-like projector stands and deluxe projector cabinet stands, most of us cannot afford them due to financial constraints. So, we make do without. A few months ago, I moved into a house with a fine, large basement room that I could use as a den and workshop. Eventually, it transformed into a projection room as well. However, the old problem of finding a suitable support for my projector persisted.\n\nAny ordinary table would be too low, while a commercial projector stand would be, in a different sense, too high. Therefore, I compromised by creating my own. It cost me roughly four dollars and is more practical than any I've seen.\n\nFrom the outset, I decided my stand would be large enough to be practical: there would be enough room for at least two projectors, plus an additional component.\nIt is convenient to have plenty of power outlets. Three projectors are plugged in here, with room for a fourth. Note master switch at far end of table. Ample space for the film I was to project.\n\nMy projection problems are varied. In addition to my own shooting in both 16mm. and 8mm., the matter of reviewing and analyzing other films frequently involves the use of a 35mm. projector, a 16mm. sound projector, or a minicam slide projector. Therefore, my stand must be able to accommodate at least two or three projectors at a time, free from physical interference or the need for changing electrical connections.\n\nThis is a feature that can strongly be recommended to any individual. For many cinematographers double in brass with a minicam, and in addition cinematographers who use equipment of a different size have a way to do so without interference.\nCalling with their films and projectors for an evening of movies. It's more fun if you can swing from sixteen to eight, or vice versa, without interruption. Therefore, I made my stand four feet long. This gives ample room for three, or even four projectors, and allows plenty of clear space for threading and operating them. Since width is no great importance, my stand is considerably narrower than the average table \u2013 to be precise, it is 1 foot 7 inches wide. This is wide enough to take care of even the biggest 16mm sound machine, yet small enough to avoid waste space, which in most dens would be too likely to become cluttered up with all sorts of things (entirely unrelated to projection!) which would be parked there for momentary convenience \u2013 and left until found to be in the way of projection! The best way to determine height is\nTo ensure your projector throws a level image onto the screen, plan accordingly. In general, aim to have your projector's lens at the same height from the floor as the screen's center. Measure the screen's center height, subtract the height of your projector's lens above its base, and you'll have the proper height for your stand's top.\n\nIn my case, I had to adhere to another fixed standard - the lens height of my 35mm machine, a 100-lb. \"portable\" from fifteen years ago, complete with its own rigid stand. Since several different sub-standard projectors might be used at different times, a further compromise was necessary. I decided my stand should be 3 feet 6 inches high. In actual use, I have found this height nearly ideal.\n\nI began actual construction with:\nI have no misgivings, but I'll admit I'm not the best carpenter. I felt worse when I surveyed the $3 worth of assorted lumber I hoped to turn into a projector stand. There were four four-by-switches, so I could have the entire electrical system of my projector setup alive or dead in a single movement. Beyond this master switch, I placed two double outlets in convenient positions, so the most frequently used projectors could be plugged in and left that way. Then I carried the wire on and around to the front of the stand and brought it to the top, putting another switch there.\nDouble outlet at the right front corner and the second near the middle, both at the front. I snapped the little night lights into these. These serve as pilot lights, so ordinarily there is no need to turn on the room lights for rethreading the projector between reels. As the type of night-lights I used are equipped with switches, the pilot lights may easily be switched on or off independently.\n\nCorrect placing of these pilot lights is quite important. They must be out of the way, yet in a position where they will illuminate the projector adequately. I learned this the hard way \u2014 I tried to economize and use only one pilot light, placed at the front center of the table.\n\nIt was perfect as long as I only used the projector at the left end of the table, where the pilot-light could shine on the right, or operating side of the projector.\n\nInvest 30 cents.\nIf I used a projector at the other end of the table or even a little beyond the middle, the pilot light was worse than useless. It shone right in my eyes and disturbed my efforts at threading in the dark. The additional thirty cents for another outlet and another light proved a worthwhile investment.\n\nA table of this sort not only provides a firm and always ready support for several projectors, but gives one plenty of room. The stand should be higher than the average table and provide plenty of room for projectors and film.\n\nThe table required foot lengths of sturdy 2 by 2 stock, half-a-dozen equally long strips of 1 by 3, three 1 by 6 boards, and a sheet of masonite \"presdwood.\"\n\nThe 2 by 2s were for the legs. They began to look a bit like legs when I connected each pair.\nWith a four-foot by one by three inch piece at the top, and another for reinforcement about halfway down, the thing was really recognizable as a table once each pair of legs was connected by two nineteen inch lengths of one by three inch boards. A strong, solid top is one of the prime essentials of a good projector stand. The one by six boards provided this. To give a smooth surface above this, I used plywood. This can be sawed to shape as easily as wood, and in addition to being smooth and strong, it is not likely to warp, even when subjected to the heat radiated by some hotter mini slide projectors. This provides a mechanically adequate framework for its task. You can dress it up if you wish. For instance, an L-shaped binding of metal makes a nice trim for the edge of your plywood top. The woodwork can also be finished off in style.\nA shelf on the lower braces can be handy for storing projector cases and the like. It's a feature not yet incorporated in my stand, but one which probably will be when time permits. And some people may find that plywood paneling on three sides, extending from this shelf to the top, will make the stand a neater appearing piece of furniture.\n\nWiring for Convenience\n\nThe final step in making a projection table like this is wiring it electrically. There's very little convenience in having such a table if you must still string a maze of wiring all over the room to get power for your projectors. One wire \u2013 with suitable outlets on the table \u2013 can do the whole job, and be safer and better looking.\n\nI began by going to the dime store and buying four rectangular double outlets, at fifteen cents each, and an equally priced extension cord. I wired the outlets in series, connecting the black wires together and the white wires together, and then connected the ends to the extension cord. I ran the cord out of the back of the stand, through a hole I had drilled in the back panel, and plugged it into a wall outlet. Now, when I want to use the table, I simply plug in the projectors and extension cord, and I'm ready to go.\nCheap switch, two little fifteen-cent Bakelite night lights, a standard two-prong connector, and about fifteen feet of rubber insulated wire. Connecting the plug to one end of my wire, I ran my cable from the nearest wall outlet to a rear leg of the stand and thence up to the side of the top brace.\n\nFour forty-six American Cinematographer \u2022 October, 1939\nIHTtHSTIY VROJEttlON nrtCDM AND MM mUlM COWPfcH\u2019t loog.o, National s Onitol Union _C Carbon Sale. G.n.r.l Offices llikicn \u00ab* aIvd Carbon Corpor Cleveland dStr.\u00abt New York. HHtlSCtt o\u2019Jjoooouou\n\nEconomical, cool, evenly balanced light. The light provided by modern studio carbon arcs has the evenly balanced color composition characteristic of the high intensity projection arc. Carbon arc lighting combines the photographic advantages of daylight.\nQuality with economy in power consumption and an absence of intense heat at high levels of illumination.\n\nNational Carbon Company, Inc.\nQuality High\nColor composition\n.... balance of high\nV:M , \"!>;,et ion light\nintern-' I* ,.asihg screen re-\nl.aek of hi\"' i.roicction\nand heaut >  t i /*  k \nL6H1 and beaut V  \u00bb\u25a0 \n. mu\u00bbtopscm\nLamped High\nLamps per volt\nCannot project \"give more than\nmore pe<  *  tion light m\nsiiutr u  l'lU I\u2019  \\  ohmic,\nmore than\nvainer of uo\u00bbTnt\nscreen \"tag \u2018 for universal\nfortah'e V.\nIlluminating Company-\n\nOctober, 1939 \u2022 American Cinematographer 447\n4000 Mile Cruise\nAt Sea For\nAustralian Photographers\nProbably never before in the history of the world was there an excursion that will match the one conducted in Australia in July. We find a story of it in the Movie News, the house organ printed by the Australian Amalgamated Wireless (A.A.W.) Association.\nAn unidentified benefactor wrote the following about the Cine Society: Four hundred photographers, both cinematographers and still photographers, boarded the steamship Strathaird in Sydney. They hailed from all over Australia, a country that covers 2,974,581 square miles, just shy of the United States' area by about 50,000 square miles. The writer did not mention the departure time but noted that the ship stopped in Brisbane for two and a half days and in Port Moresby for a couple of days. The traveled distance was approximately four thousand miles. The Great Barrier Reef, which runs parallel to the tourists' travel route, is 1,250 miles long and 60 miles off the east coast. Port Moresby, the northernmost point.\nThe travelers reached Port Moresby, located on Papua Island south of the equator and reaching the 10th degree of latitude. Port Moresby lies on the 10th parallel, where the village of Hanuabadha is situated. The writer mentions they departed from Sydney on a \"cold, wintry day,\" but July in Sydney, being in 34 south latitude, is comparable to Los Angeles and Columbia, SC in the US.\n\nAn A.A.C.S. member on board reported on the successful Photographers' Cruise that set sail from Sydney a month ago.\nOver 400 photographers from all over Australia convened at the Strathaird hotel. Departing Sydney on a cold, wintry day, the journey to Brisbane was made in pleasant weather. Passengers eagerly utilized the organization facilitated on board by the cooperation of the Queensland Tourist Bureau. Tours were arranged for numerous sightseeing trips in Queensland, where both Cine and Still photographers spent an intriguing two and a half days in beautiful weather.\n\nUpon arrival in Brisbane, we were greeted by a committee of Cine workers from the city. The committee was somewhat disappointed that the photographers on board had their schedules fully booked and could not accept the invitations they extended. It was a gracious gesture on the part of the Queenslanders, and undoubtedly, on future occasions, their wishes would be granted.\nWill considerations be given when arranging local tours. Photographers' Paradise. Leaving Brisbane, we headed for the Barrier Reef where, inside the Reef\u2014amid placid waters and warm sunshine tempered by delightful sea breezes\u2014the Strathaird meandered among the galaxy of colorful atolls, providing photographers a wonderful opportunity of recording island after island mirrored in chromes, yellows, and blues that were the delight of those who featured color photography as a highlight. The arrival at Port Moresby\u2014just after daylight\u2014was a scene that left passengers almost breathless. No sooner had the anchor settled amongst the Strong Onions. From The Hollywood Reporter Sydney\u2014Camera squad from Cine-sound Newsreel boarded a tug to take shots of sinking of former navy ship, Stalwart. Hull of ship to be sunk was loaded with 800 tons of rotten, concrete.\nPassengers were overwhelmed by the pungent smell of onions, preventing newsreel men from taking their shots. Native canoes appeared from all directions at the bottom of the bay. The natives, diving for coins thrown to them, provided photographers with excellent opportunities to record animated actions against the backdrop of the calm waters and the dark jungle beyond. Despite the gaiety and laughter of the welcome, the beat of tom-tom drums in the distant hills foreshadowed the day's events.\n\nAt nine o'clock, passengers began to disembark and were quickly transported to the large village of Hanuabadha. Photographers were given their first glimpse into village life, and the rolls of Cine film taken there would tell an amazing story of the varied scenes that unfolded.\nScenes confronting us. From there \u2013 to the big singsing where the warriors had already started to dance, having spent the whole night before in preparation. Head-dresses of Cassowary feathers were freely picked out. This head-dress, we understand, is the hallmark of a warrior who has taken his man in the right and proper manner. The Chiefs wore head-dresses with Paradise Bird plumes. The ceremonies and dances we witnessed were pictures few travelers are likely to see \u2013 even in Papua \u2013 as these dances were only held by special permission of the government.\n\nDanced all night\nThese Sons of the Jungle danced the whole of that day and the following night until daylight came again. Then, by law, the singsing ceased and for them became a memory of yesterday. We, the photographers, were more fortunate because we carried in our cameras.\nThe evidence of scenes enacted in Australia will leave the beholder spellbound. The temperature at Port Moresby reached up to 97 degrees, but the warmth was not uncomfortable, and everyone was dressed for the occasion. On the second day, we left Port Moresby on our return to Sydney, and for two more days, we were still favored with placid waters and warm temperatures. Passing Cape Byron, we encountered heavy weather, but \"Variety is the spice of life.\" The photographers, who for the first time on the trip were afflicted with mal-de-mer, listened with envy to their more fortunate companions who braved the elements and took shots of the big seas that made it so uncomfortable for them. Over 5000 still pictures and over 3000 ft. of natural color Cine were exposed. The amount of black and white film that was also used.\nThose who made the trip are looking forward, if given the opportunity, to repeating it next year to some other island of the Pacific where pictures of native life, villages, and sunny skies will add to their collection of Cruise mementos. (American Cinematographer, October 1939)\n\nThe loud speaker portion of the case is set up beside the movie screen. Speaker cover is unhinged.\n\nOne wonders how we ever managed to survive those historic days when a broken-down piano in a professional showhouse provided the only alleged musical accompaniment for otherwise silent films. How we thrilled at Al Jolson's first big sound feature, \"The Jazz Singer,\" and how envious were the jobless wind-and-string gents who promptly attempted to enlist public support in a futile war against that arch-demon \u2014\nCanned music! Of course, sound and music with films could only be a fad. Every theatergoer in the country would soon demand a return to silent versions. But somehow, the demand became lost in the shuffle. Enthusiasm popped up through the years, and even the most bleary-eyed, wool-dyed amateur cinematographer has been tearing his hair, figuring out new ways of adding sound effects and a voice to his substandard productions.\n\nEfforts to make home performances compare favorably with professional sound presentations, to which most movie fans had become accustomed, prompted considerable research among amateurs. First of all were the word-of-mouth \"talkies,\" whereby the amateur projectionist attempted to outsmart projection noises by shouting his running commentary as the film unfolded. Then someone dusted off the once-abandoned phonograph records to synchronize with the films, creating a rudimentary sound-on-film system. Later, magnetic tape recordings and eventually synchronous sound on film became the norm.\nThe phonograph played merry tunes with its palm-sized pickup arm for a while. Inexpensive, electrically operated phonograph record players, designed to plug into any radio, became popular next. These were often purchased and operated in pairs to allow for sound effects while background music played. Widely accepted, record players were used by many thousands, but some in the film industry still desired greater compactness and portability. Dual turntables were soon installed in discarded carrying cases. One amateur even set one up in a woman's traveling bag. Every effort was made to improve tone quality and simplify operation. Today, thanks to a few serious workers, the acme of something or other has been reached.\nA member of the Minneapolis Cine Club, a moviemaker for only three years but a radio amateur (W9CSY) since he could remember, watched the sound parade purely as an observer. It fascinated him. So, he set out to build a dual turntable unit of his own (see August 1939 American Cinematographer, Page 360), but it was a bulky affair, which required two Bunyan-muscled furniture movers to haul it around.\n\nThe outfit boasted of most everything any intelligent amateur might ask for \u2014 double turntables, cue sheet light, tone and volume control, and an easily removable loudspeaker unit which nested into the base. In fact, it had everything but gas heat and running water.\n\nYet, it had its shortcomings. George Culbertson's moviemaking friends were October, 1939 American Cinematographer 449\n\nGeorge Culbertson of the Minneapolis Cine Club.\nCine Club is shown with his deluxe dual turntable outfit, which he built for sound synchronizing amateur-made movies. The top of the carrying case, housing a loud speaker, is easily removed from the turntable-amplifier base. Compact, three-in-one outfit weighs only 45 pounds.\n\nVertical view of seven-tube outfit having volume expansion \u2014 a new wrinkle which amplifies loud notes and gives natural depth to music. Note three pickup arms, each having separate pilot lights to aid record playing in darkened projection room.\n\nFree with their criticisms. Make it more compact, knock off some weight! No easy assignment, this, for turntables and motors are heavy affairs. And George knew that diminishing the size of a loud speaker often diminished tone quality.\n\nAn inch was lopped off here, a couple inches over there. Then he added needle cups for convenience. He put pilot lights on them.\nUnder each pickup arm to aid in finding record grooves in darkened projection rooms. He even set up a third pickup arm for nimble-fingered fellows who like to take two cuts off the same record simultaneously or replay the same disc without the usual abrupt break.\n\nTo synchronize film action with sound effects even more closely, he installed push button cut-offs to bite off, say, a steamer whistling of any length from a continuous sound effect.\n\nHis turntables, operating at 78 rpm, took either 10 or 12 inch discs. Volume expansion, a comparatively new wrinkle in radio, was also added to amplify the loud notes and give depth to normal recordings.\n\nThe carrying case, built by a nationally known trunk maker to exact specifications, housed turntables and amplifier, while the upper portion, unhinged, contained the built-in loudspeaker, ready.\nFor immediate placement beside the movie screen, the fifty-foot extension was designed with careful attention to detail. Wound around metal fingers mounted inside the lid, two of which held the turntable tops in position for carrying, while special clasps locked the pickup arms securely.\n\nThe show is on. Such meticulous care given to minor details not only expedites setting up and operation of the equipment but also enhances the enjoyment of sound synchronization itself.\n\nIn use, the turntable-amplifier portion of the case is set up on a table to the right of the projector. Selected recordings are placed to the right of the sound unit after removal from a partitioned carrying case. A cue sheet for each film is set up conveniently before the operator.\n\nHarbor sounds.\n\nWind and waves at sea.\nTraffic on native streets. Tom-toms for native dances. Gulls squawking. Birds singing. Train arriving at station. Airplane taking off and in air. Speedy-Q sound effect discs and cue card. Note: individual \u201ccuts,\u201d each representing different sound effect for home movie use. Culbertson makes a final adjustment on underside of a five-tube turntable unit. The sound outfit has both volume and tone control, and is equipped with push buttons for split second synchronization. This five-tube sound unit, having two pick-up arms, is equipped for microphone plug-in. Culbertson, leisure-time turntable builder, radio ham for many years, has recently joined engineering staff of one of Columbia\u2019s chain stations. Quick consultation, then the lights are dimmed and the show is on. Now, every movie scene in most every film will put you in some sort of mood.\nIf a butterfly is shown flitting about in your flower garden reel, you may start feeling light-headed and jovial yourself. But mountain and wilderness sequences make you feel differently, perhaps lordly and majestic. Properly selected music will help to enhance the effect created by your film, while perfectly synchronized sound effects will make the thing complete.\n\nSome moviemakers would have us believe that the dual turntable, grinding out sound and music with disc, is low-brow entertainment, and only a stepping stone to the perfection supposedly reached by the more refined sound-on-film.\n\nThe truth of the matter is that double turntables can produce music far superior to the celluloid product, even varying background music with each performance, without worrying about the disastrous consequences of a sound film break.\nTake it from a carload of amateurs across the country, it's a lot more difficult yet a peck more fun playing with turntable equipment than tinkering with celluloid recorded sound. Wide Variety\n\nBy consulting the catalogs of Victor, Brunswick, Decca and others, a wide selection of background music may be obtained. Sound effect discs are available from several concerns, and most any natural or man-made sound from the roar of the surf to a cricket's chirp may be had at prices ranging from $1.50 to $2.50 per double-faced disc.\n\nWhile some thought might be given to the selection of suitable recordings during editing, usually detailed scoring is never attempted until after the film is fully edited and titled. It is hardly advisable, for instance, to synchronize sound with every bit of film action. Short scenes do not warrant it, and it is generally unnecessary for dialogue scenes.\nIt's wiser to touch only the highlights and let background music cover the remaining footage. When the film is completed and ready for the addition of sound and music, screen it in its entirety and make a list of the major sound effects you may require. If it\u2019s a travel film, your list might run something like this:\n\n* RCA Victor, Camden, N.J.\n* Speedy-Q, 1344 Flower street, Los Angeles\n* Standard Radio, 180 North Michigan avenue, Chicago\n\nQuick reference to any sound catalog will reveal that not only are all these effects available, but also in different forms. For instance, you can secure boat whistles ranging from the half-hearted toot of a fishing scow to the deep bass of a transatlantic liner. You can get howling wind alone or in combination with crashing waves and creaking timbers. As for trains, there are various options.\nThe big trouble with vacation movies is that in most cases, the movie is incidental to the vacation. Both the novice and the serious amateur agree that organ music is hard to beat for Kodachrome movies. Good classical pieces should fill the order, but they should be smooth-flowing and free from loud blasts alternating with soft trickles. Vocal refrains seem to detract from the film itself, so it is advisable to choose recordings of an instrumental nature. One sound enthusiast of the writer's acquaintance studies record catalogs page for page, makes up a want list.\n\nOctober, 1939 \u2022 American Cinematographer 451\nRough Spots Off\nVacation\nBy William Stull, A.S.C.\nAdvanced cinematographers are likely to overlook or disregard the many intricacies of planning and filmic construction that ensure a seamless production: vacation fun simply takes a back seat to serious movie making. However, upon the return of the final roll from the processing plant, the narrative shifts. Vacation is over: movie-mindedness emerges, and the film suddenly reveals its \"rough spots\" that must be addressed before it can be considered a worthy presentation. Such photographic imperfections as under and over exposure are of relatively minor importance when confronting this issue. There is little that can be done about poor exposure, other than excising the affected scenes. However, much can be done to rectify the more significant problems.\nTo which most vacation movies are subject.\n\nStudy Film First\n\nThe logical first step is to assemble the film roughly and study it. Since a vacation means going somewhere, we can generally achieve a satisfactory \"first cut\" by simply splicing the individual rolls of film on a reel in the order in which they were shot. This first inspection often shows that the picture would become more coherent if certain related scenes were grouped together \u2014 with some, perhaps, moved up, and others moved back. At the same time, it's extremely likely we'll find some scenes that obviously have no place in this vacation picture; these might as well be eliminated at this point.\n\nSo far, we've got a strictly pictorial film, and even though the rough spots are making themselves increasingly evident, most of us find it all too easy to overlook them.\nDismiss many of them by saying, \"I'll bridge that over with a title!\" But if we let it go at that and wait until we're really ready to tackle the final titling job, we'll make the sudden discovery that some of the gaps can't be bridged with any logical title.\n\nTemporary Titles\n\nIn the days of silent pictures, when a film reached this stage of its growth, we used to insert temporary titles. These \"temp titles\" or \"scratch titles,\" as we called them, were not the finished product; they were written reasonably carefully but were quickly photographed and cut in merely to give an indication of how the finished title would fit into place.\n\nTemp titles are an equally good idea for the amateur film at this stage. The easiest way to make them is to type them on white paper and photograph them on positive film.\nThis way they don't cost much \u2013 half-a-dollar or a dollar's worth of positive film will usually title a whole picture, and developing the film only costs a few cents. But it is really surprising how different a picture seems once these \u201ctemp titles\u201d are in place. You begin to see which gaps can be bridged with a title and which will need some other sort of medicine.\n\nOnce you know that, you can begin to do something about it. You will find that the rough spots usually group themselves into four classes.\n\nFirst are the scenes that drag or are repetitious. Second are the scenes that aren't there \u2013 the important shots which, like the proverbial big fish, got away. Third are shots that perhaps you couldn't be expected to get: close shots of yourself in the places visited. Fourth are the yawning gaps where you jump too suddenly from one place, or where there should be a transition but none is provided.\nThere's a way to cure or improve all issues of meaningless transitions between unrelated ideas.\n\nAdded Scenes:\nDragging and repetitious scenes can be easily cured with a pair of scissors. Scenic shots that drag can almost always be shortened to good advantage: if the shot runs seven feet, trim it down to five or four. If there is apparently dragging action in several shots where a person, a train, or a car apparently travels from one place to another, tighten up the exits and entrances. You can almost always cut just as an object begins to leave the frame, and trim the beginning of the next scene to open with the object well \u2013 but not fully \u2013 in the frame. This speeds up the action surprisingly.\n\nRepetitious scenes are likely to be a by-product of \"pet shots.\" Of course, we're all proud of good photography \u2013 but why rub it in to the audience?\nA good view shown only once or twice makes a much better impression than if it is repeated with minor variations several times. However, the scenes that are missing present a slightly harder problem. If you live in Los Angeles, you cannot conveniently go back after a scene you missed at the New York Fair. But you can suggest it with a little creative ingenuity.\n\nPicture postcards and the illustrations of travel folders, photographed by a titler, can bridge many a gap and look almost as convincing as the real thing, even in Kodachrome. Two by two minicam transparencies, projected on a translucent screen in a titler, can be surprisingly realistic.\n\nAdditionally, if your picture is in black-and-white, you can bridge many a gap by the discreet use of footage from commercially produced 16mm. and 8mm. \"Travelettes.\" One of my friends does this.\nRecently, I came back from Hawaii and rented 75 feet of a 100-foot commercial 16mm subject in brass for the scenes of Waikiki\u2019s surfboarding that I couldn't shoot for myself.\n\nClose-ups of Yourself\nCommercial pictures will hardly serve in spots where you'd like to have a close-up of yourself to show that you, unlike \"Sharlie\" of beloved memory, were \"there.\" For this, you can borrow a bit from studio technique.\n\nThe simplest trick is to make your close-up amid some similar scenery, carefully choosing an angle that eliminates any embarrassingly specific background.\n\nFor instance, if you have a shot of the parachute jump at the New York Fair, what is simpler than making a shot of yourself from a low angle, with only a sky background, looking up, and then apparently following something down with your eyes? Cut into this shot.\nAudiences will have a positive response if the sequence is presented in the proper order. A single pine branch can suggest a Colorado forest, while a Pullman or even a day-coach at the local station, shown close enough, can suggest boarding or leaving a distant train. For miniature camera fans, the simplest method is available. Project the minicam slide showing the desired background onto one of the small process screens for amateur use. Position yourself a foot or so in front of the screen and arrange the lighting so it is mostly from the sides and kept well off the screen. Start the camera going and photograph yourself apparently in the desired, distant scene.\n\nThe final challenge is in filling the gaps.\nIn continuity, a film leaps too suddenly from one place or idea. A title, especially a long one, can help; but there are times when a title isn't enough. You feel the need of something to tie the two ideas together or to put a figurative period to denote the end of one sequence and a capital letter to begin the next. In many instances, a simple added scene or two can connect them. For instance, if your film deals with a mourning vacation and you find a yawning chasm between your sequences on two important places visited, a simple long-shot or two of the car on the highway - preferably with a fade-out and fade-in between the two highway scenes - will suggest the idea of travel and work in naturally with a title that says, \"So we drove on to --,\" or \"And here we are in -- .\"\nThere are times when local scenery cannot be used for transitional shots. For instance, if the gap occurred between Yellowstone and the Grand Canyon, with your home in New England, it would be almost impossible to \"double\" local scenery for the western desert! In such cases, a few close-ups of an auto-wheel rolling along the highway might do, or a shot like that followed by a close-up of your speedometer with the needle pointing to your favorite cruising speed. Such inserts of a speedometer can often be made without much trouble by simply jacking up the rear wheel of your car, putting it in gear and running the motor up to the desired speed indication. Alternatively, running the bus up on the neighborhood gas station's greasing hoist is easier.\n\nBut there are occasions when neither local scenery nor a speedometer insert is feasible.\nAn insert title is not suitable when nothing but a fade-out on one sequence is required, followed by a fade-in, either after a title or with no title. Fortunately, it is an easy thing to put in a fade on developed black-and-white or color film using Fotofade, a chemical that came into being partly due to an article by this writer published in this journal six years ago.\n\nFor a simple fade-out or fade-in, hang a weight, such as an ordinary film developing clip, on the end of the scene that is to be opaque. After moistening the film in water for thirty seconds, lower the weighted end into a jar of the Fotofade solution, frame by frame, until the desired length of fade has been immersed. Do this slowly enough so that the fade is even.\nThe solutions will be in the film long enough to blacken thoroughly - approximately one to one and a half minutes. The poll of reviewers for pictures released in August, as reported in The Hollywood Reporter, recognized Harold Rosson and Allen M. Davies as the black and white and Technicolor cinematographers for \"The Wizard of Oz\" (MGM issue). A tie for second place occurred between Oliver T. Marsh and Joseph Ruttenberg for \"The Women\" (MGM), and F. Young and Joseph A. August for \"Nurse Edith Cavell\" (RKO). A tie for third place ensued, with votes split between J. Roy Hunt and Hal Mohr. The respective subjects were \"In Name Only\" and \"The Under-Pup. Give the film a shake and remove it quickly, dipping it immediately.\nClean the film by shaking it in clear water and rinsing for fifteen to twenty seconds. Squeegee the film gently between folds of a damp chamois or a viscose sponge, and hang it up to dry. If scenes you want to separate by a pair of fades were shot consecutively on the same film and you don't want to cut and resplice them, loop the film carefully with the weight hooked in the loop (on the celluloid surface, rather than the emulsion) and make both fades at once. Wipe often for more closely related ideas. A wipe is often needed. However, a true wipe must be made in the camera with a mechanically interlocked wiping device, or in an optical printer. But an acceptable wipe, in which the scene wipes to black, and then to the next, can be achieved by making both fades at once.\nTo make the next scene, use fotofade and waterproof scotch tape. If you're skilled at splicing, create each half of the wipe separately. If not, splice the two scenes together and make both wipes at once. In making chemical wipes, place the scotch tape diagonally across the film (emulsion side), covering the areas you want clear and leaving the area for the wipe exposed. Ensure the tape is pressed down firmly on the film, preventing the solution from creeping under the tape and causing a ragged-looking wipe. After wetting the film thoroughly, immerse the portion to be wiped in the fotofade for at least two minutes. This is long enough to dye the uncovered part of the film a good, opaque black. Then, rinse and dry it as you would a fade, ensuring proper handling to avoid damage.\nTo thoroughly rinse and remove all surface solution before removing the tape. By this time, you have tightened the cutting of your picture, added all necessary scenes and inserts - at least all that you can possibly make - and bridged the transitions with fades, wipes, or inserts. Unless you have gone very wrong in your filming, the picture will hang together better and move much more smoothly than it did when you first screened it.\n\nNow all that remains is to replace your temporary titles with permanent ones. You will find your vacation film very efficiently salvaged, and in shape to make a really good impression on your audiences - friendly or otherwise.\n\nOctober, 1939 \u2022 American Cinematographer 453\n\nFaster Film and Better\nBy WILLIAM STULL, A.S.C.\n\nThe big news of recent months has been the introduction of improved equipment and films for:\n8mm moviemaking. For years, filmers have clamored for a wide-angle lens and faster monochrome films. Now Bell & Howell has given them the lens, and both Agfa and Eastman have provided faster films. The result is a marked increase in the scope and flexibility of 8mm home camera work. Anyone who has tried to film interiors in the average home with an 8mm camera realizes the value of Bell & Howell\u2019s new Hyper Cinor wide-angle lens. The 12%mm lenses with which 8mm cameras are normally equipped have a most inconveniently narrow angle of view. In theory, they should cover the same angle as a one-inch (25mm) lens on a 16mm camera \u2014 that is, a horizontal angle of 21.2 degrees; but in practice, they appear to have even a somewhat narrower angle, which is confirmed by the figures given in Jackson Rose\u2019s Handbook, which indicate a horizontal angle of approximately 20 degrees.\nThe Hyper Cinor, not a lens but a highly corrected supplementary lens, provides an angle of view of 42 degrees when attached to standard Bell & Howell eights. Widening the view beyond the 36.6-degree angle covered by the 15mm wide-angle lens on 16mm film, the Hyper Cinor's equivalent focal length is approximately 6mm.\n\nTests with the Hyper Cinor reveal excellent definition and clear focus to the frame edges. It delivers satisfactory results in both color and monochrome. The lens construction allows for a fixed-focus standard lens attachment, yet the Hyper Cinor widens the view.\nThe angle converts it into a focusing lens. The calibrations on the Hyper Cinor allow focusing down to 2% feet. A certain amount of distortion of perspective is probably inescapable with any extreme wide-angle lens and might certainly be expected in a wide-angle supplementary lens. The new Hyper Cinor, however, appears remarkably free from such faults. In the tests made of it for The American Cinematographer, little if any such distortion was seen. Since the lens is of somewhat complicated optical construction, with almost as many elements as would be expected in a normal objective, there appears to be some slight loss in light transmission. This does not exceed half a stop and may be considered negligible except in genuinely low-key lightings. The diaphragm calibrations of the basic lens to which the Hyper Cinor is attached.\nFitted may be used and considered accurate. Specially matched viewfinder lenses for use with this wide-angle objective are being supplied. It should be mentioned, incidentally, that since the Hyper Cinor is made by the well-known French optical firm of Som-Berthiot in Paris, the present international situation may possibly retard deliveries of the new lens, though Bell & Howell is understood to have an ample supply available.\n\nAgfa\u2019s Twin-8 Hypan\n\nThe first of the fast 8mm. films to be announced was Agfa\u2019s Twin-eight Hypan. This has a Weston daylight speed-rating of 24, and 16 to Mazda light. From the results of our tests, these ratings \u2013 especially the daylight rating \u2013 appear to be conservative.\n\nTwin-eight Hypan is a fully panchromatic film, with excellent fine-grain qualities. Weather conditions at the time of our tests did not permit thorough examination of its low-light performance.\nMaking exhaustive tests of the film with filters, it behaves excellently with all normal filtering. The film's gradational characteristics are excellent, and it has the snap and brilliance necessary for 8mm projection.\n\nEastman\u2019s Super-X\nEastman\u2019s Cine-Kodak 8 Super-X Pan offers similar speed: Weston 24 in daylight, 16 in Mazda. Like the Agfa product, these ratings seem conservative, especially regarding daylight sensitivity. Super-X 8 is listed by Eastman as having \u201cgroup C\u201d sensitivity. In other words, its color-sensitivity is similar to that of the familiar Cine-Kodak 8 (regular) Pan. Accordingly, all filtering and filter-factors that have been useful with the regular pan can be applied, unchanged, to the new, faster film.\n\nThe grain size of the new film is remarkably fine\u2014very closely comparable to that of its slower predecessor.\nContrast the characteristic appears to be slightly softer than that of the former film; it is definitely pleasing. Using Fast Film. In general, an amateur will do well to follow the example of his professional fellow who, in using the new super-fast 35mm. emulsions, learned to handle highlight illumination with increased caution. There seems a slight tendency toward \"burning up\" highlights if such care is not taken, and it will be well to keep highlight illumination on the soft side until familiar with the new film.\n\nWhat does this increased speed mean, in practical terms? It may mean either the ability to use less light or to stop down for increased definition. This is especially notable when working under artificial light. Eight millimeter has always been at a disadvantage in this respect.\ndisadvantage in this respect as compared to the far faster films available for 16mm use. While the new films do not entirely overcome this, they certainly improve the situation.\n\nTo cite a concrete example, where a user of the old film would find it necessary to open his lens to f.2.5, with the new films one can shoot at f.5.6.\n\nMaking color stills is no longer an assignment for the specialist. Since the introduction of professional Kodachrome cut film, we have proven that any real capable studio still photographer can make consistently good color stills if he will only remember the few, basic limitations of the process.\n\nThis, of course, parallels the experience in Technicolor cinematography.\nThe greatest advances in our department at Paramount Studio have occurred since monochrome-trained cinematographers have taken charge. In my department, we produce an average of sixty Kodachromes per week. The success rate is very high, yet we do not employ any \"color specialists\"; at least six men (including myself) handle our color shots in addition to their regular black-and-white work. We have found it to be a simple matter of applying common sense to the task and keeping in mind the inherent limitations of color.\n\nThe first limitation is restricted latitude. This is an inherent issue in every color process yet devised.\n\nLatitude: 20:1.\n\nIn monochrome, we are accustomed to a film with a very wide latitude, around 128 to 1. That is, the brightest highlight can be 128 times as bright as the darkest shadow.\nThe heaviest shadow and keep within the normal, safe reproductive range of film and printing. In Kodachrome, this latitude is greatly reduced. We\u2019ve found it is more on the order of 20 to 1. The brightest highlight should be no more than 20 times as bright as the heaviest shadow. Such highlights as crosslights and backlights must especially be watched: if they are allowed to become too intense, they\u2019ll give a \u201cwashed-out\u201d effect in the picture. And when a color picture is \u201cwashed-out,\u201d not only is the color in that area burned to a glaring white, but definition is destroyed as well. The second vital thing to keep in mind is that when you are making natural-color photographs, not only the actual color of your subject is important, but also the color of the light that illuminates it. Any color film or process is balanced to give normal color rendition.\nMal results exhibit a definite color. For instance, the regular or \"daylight\" Kodachrome, in both professional cut film and amateur minicam and home movie sizes, is balanced for normal daylight, and light of any other color will yield an off-normal picture. The Type A Kodachrome made for miniature camera and home movie use is balanced to the light of Photo-flood and \"CP\" lamps, which burn at a color temperature of 3380 to 3600 degrees Kelvin. The Type B professional Kodachrome gives its best results with high-efficiency Mazda globes, at a color temperature close to 3200 Kelvin. The average Mazda found on set burns, when new, at around 3100 K, and grows progressively redder as it ages.\n\nColor Corrected Lenses\nAlthough the professional Kodachrome cut film will fit in any modern still camera's holders, it is important to use color corrected lenses.\nExpose it through fully color-corrected lenses. This is particularly important in motion picture studio work, as many of the lenses and cameras in use date back to the old days of orthochromatic film. Our equipment was considered average; our cameras were equipped with Goerz and Cooke lenses, which, in the ortho-film days, had been the best obtainable. But when panchromatic film \u2013 and especially the highly sensitive types now available \u2013 came in, we found they were not corrected for pan.\n\nTo our surprise, we found that even in monochrome they exhibited peculiarities never suspected in the old days. At full aperture, their definition was excellent, but when they reached f.l, definition began to fall off. This continued until they were stopped down to about f.22, when they sharpened up again. Obviously, such lenses would require adjustment when using panchromatic film.\nWe found it almost impossible to obtain modern, fully color-corrected lenses in the sizes required for our still cameras for natural color photography. After more than a year's effort, we obtained several Bausch & Lomb Protars, which had been especially corrected for color. Though these lenses are relatively slow (their maximum aperture is f/5.6), they have proved excellent for color. Our color work divides itself into three broad groups: color portraits made in the gallery, color portraits and publicity shots made outdoors, and production stills made on the set.\n\nGallery portraits:\nBecause every factor in the portrait gallery is completely under control, gallery portraits are the most consistently perfect. The all-important matter of lighting can, of course, be controlled.\nFor our color stills, we must conform precisely. We achieve this using high-efficiency bulbs and carefully checking their color temperature with a meter from General Electric. Reasonable discrepancies can be corrected with corrective filters on the lamps.\n\nIt's important because if the lamps drop below the correct color temperature, the picture takes on an unpleasantly reddish cast. Conversely, if the color temperature is too high, the light becomes bluish. Unwanted bluish glints in a pretty blonde's hair are most disturbing.\n\nContrast can be adjusted as needed.\n\n(October, 1939 \u2022 American Cinematographer 455)\nA group of production stills from Paramount\u2019s Technicolored \u201cTyphoon\u201d: all have been duplicated.\n(1) An excellent color subject in Kodachrome. Although face modeling is a bit strong for good Kodachroming. (2) An ideal exterior color shot; color-contrasts between foliage and water, ivy with coloration of flowers and faces make a striking picture. (3) The contrast range between the shadowed foreground and brightly-lit distance makes this a difficult color subject; it exceeds the limited exposure latitude of Kodachrome. (4) An almost ideal lighting for a Kodachrome production still. Color is more graphic here than monochrome, as it accentuates the dramatically important fact that the earring is a rare black pearl. (5) Another excellent exterior color subject. (6) Exterior Kodachrome portraits can be effective \u2014 but watch the color and strength of the back-lighting on hair!\nIn this production still representing the interior of a submarine, the background is a neutral, battle-ship gray, and the stronger coloring of the figures makes them stand out more effectively than in monochrome. Photos by Jack Koffman. October, 1939 \u2022 American Cinematographer 457\n\nVery accurately controlled in gallery portraits. We have found we get the best results when the contrast is held well within the 1:20 latitude of the film. In fact, it is a very good idea to keep your lighting so balanced that the extremes of highlight and shadow fall, if separate readings are taken with a standard Weston meter, between the \u201cA\u201d (normal exposure) and \u201cC\u201d (twice normal exposure) points on the calculator dial.\n\nIn general, we try to keep our overall light-level keyed to a point such that when we take an overall reading with a light meter.\nIn making Weston meters, we obtain a light value. This does not imply that lighting must be flat and characterless. It means that lighting should have much less contrast than we're accustomed to using in black-and-white. Moreover, the lighting should be fundamentally soft in quality, as harsh light beams tend to washed-out highlights.\n\nExteriors\n\nIn making Kodachrome exteriors, we usually have to make the best of what nature provides. Here again, softer lightings are preferable, and wherever possible, the use of reflectors\u2014the familiar silver ones\u2014is well worth the effort.\n\nGenerally, we give an exposure one-half the meter's reading; this can be done easily by taking your reading with the \u201cA\u201d (normal) position on the calculator rather than the \u201cB\u201d or normal arrow.\n\nExterior Kodachromes are very effective.\nIf your subject is in the shade, it may be effective. However, a large expanse of strongly sunlit background is likely to cause trouble, as the background will tend to overexpose and appear washed-out. On the other hand, a sunlit figure in front of a heavily-shadowed background can be extremely effective. It is a strange thing, but we have noticed in several instances that exterior Kodachromes focusing on a considerable area between subject and extreme distance result in greater focal depth than black-and-white, even when made with the same camera and lenses. Properly photographed color also tends to give greater roundness and modeling, even though lit more softly. Production Stills\n\nTo date, we have found it wisest to confine our making of Kodachrome production stills.\nProduction mainly stems from Technicolor productions. This is due to several reasons. In the first place, the lamps used on monochrome sets are not balanced for color at all; some will be new and bright, some old and dim, while others, in baby spots and practicals, may be the far bluer photoflood globes. The result is badly mixed coloration. On Technicolor sets, on the other hand, all the lighting is balanced to daylight, whether arcs or Mazdas are used. Therefore, we can go on to a Technicolor set with regular Daylight Kodachrome and shoot without trouble. Secondly, there is the question of make-up. On Technicolor sets, color make-ups are of course used. These Kodachrome well. But on monochrome sets, ordinary Panchromatic make-up is generally used. And we\u2019ve so far found no way of making a Kodachrome or other color film respond to ordinary make-up in the same way.\nMake Your Own Movies by Arthur L. Gale and King Pessels. Illustrated. Coward-McCann, Inc., New York.\n\nThis book lives up to its title and has a sub-title: \"For fun and profit.\" It tells how to make money with a camera as well as how to enjoy it or both.\n\nFor those who are just beginning as amateur moviemakers, the cover carries the inquiry: \"Are you just a beginner as an amateur moviemaker?\" The blurb goes on: \"This book will start you off on the right foot. You are an old hand with the movie camera? Well, then, this book will answer that ever-recurring question, 'What do I do next?'\"\n\nHere are ideas for family movies, for vacation reels, for the sports enthusiast, for the travel addict, for the nature lover, for the hopeful who want to make documentaries, and for those who wish to create educational films.\nThe book is for the man who uses his hobby to promote business or profession, high school students considering a career, and social-minded citizens aiming to be community forces. It highlights the transformation of indoor movie making due to the new ultra-fast, supersensitive film. Home becomes a Hollywood set with no additional lighting equipment. The book provides instructions and new picture ideas for filming inside your own home, explaining how to place lights in living room fixtures for professional results. Gone are the days of blown fuses from floodlights.\n\nChapters include: Movies of the Family.\nIdeas from Real Life: Making Movies Clear and Sharp, Making the Most of Sky, Outdoors with Our Friends, Holidays on Sand and Snow, Bring Your Travel Home, Get Close to Life, Games, Events and Parades, It's Easy to Film Indoors, Views and Viewpoints, Title Hunting, You'll Splice and Edit, Too; Showing Your Movies, Movies Go to School, Influence in the Community, Filming Your Job, How Movies Help Business, A Hobby That Pays Its Way, The Road Ahead and Seven Simple Rules.\n\nIn anything else than a panchromatic make-up, in the gallery we can alter make-up, using street make-up, or at least ordinary make-up plus a special, dark-brownish-red lip-rouge that is moderately satisfactory.\n\nIn making production stills in color, the stillman is handicapped by the slow speed of his film and lenses. Neither are as fast as the modern Technicolor emulsions.\nProduction stills for color films present several challenges. Actors must hold poses for extended periods due to slower exposures, which can be difficult for some. This issue is more pronounced than with monochrome sets. Long exposures are required, sometimes a second or more, making it essential for camera-savvy actors to maintain their poses. Many fail to do so, resulting in costly production delays.\n\nThe stillman's role is dependent on the cinematographer. In black-and-white, suitable lighting for the cinematography camera does not always translate to the still camera. In color, this problem intensifies, especially when the movie camera uses Technicolor. Some cinematographers employ low-key lighting for the film, which is highly effective on screen but ineffective for color stills.\nBest shots have been made on sets where the cinematographer was using a normal, moderately high key of lighting for Technicolor.\n\nKodachrome offers the most practical method yet available for a motion picture studio's color stills. Some improvements would be welcome, such as increasing the process's sensitivity and eliminating the need to send film to Rochester for processing. A make-up must be developed that is equally satisfying for both monochrome and color photography.\n\nThe advantages of the process far outweigh these minor drawbacks. This is especially appreciated when looking back only a few months to earlier methods.\nIn 1925, a group of High School students in Amesbury, Mass. produced \"Romance of the Merrimac Valley\" using their \"Distinctive Cinemas.\" Some editors disagreed on their preferences for color pictures in the late 1930s. While some demanded one-shot separation negatives, others requested color prints on paper, and others preferred Dufaycolor or 35mm minicam Kodachrome transparencies. The only consensus was an increasing number of editors wanted color pictures of the stars. Today, most editors still want color, but nearly all agree that Kodachrome transparencies, intelligently photographed, give them what they want. We photographers are still trying to achieve this.\n\n458 American Cinematographer \u2022 October, 1939\nNew England\n\nNot Authentic Locations?\nlane\n\nAmateurs of Amesbury, Mass.\nStanley and Maryjane Bean in a scene from \u201cRomance of the Merrimac Valley,\" by Mr. and Mrs. Bean.\nChums were asked to try amateur movies for a weekend venture during the summer vacation. The film to be shot was Western, titled \"Rewards of Faith.\" Where could you get outdoor settings for cow-country in Massachusetts?\n\nBelieve it or not, with the use of our old Vicam 35mm. camera, using only 25 feet of raw stock at a loading, we did get a feasible locale without painted backgrounds.\n\nThe story wasn't much. But real horses, blank cartridges, a few sombreros, and a genuine hand-to-hand fight kept the audience in stitches, especially when the cameraman forgot to keep the hand-cranked camera turning smoothly.\n\nBut from 700 feet of a crude, one-hoss opera grew an idea that New England had a variety of settings not too different from those of the California film capitol.\n\n1926 found the emergence of this idea.\nA camera man visits Hollywood studios and outdoor locations in the hills.\n\nHollywood: Ideas\nBack home with a 16mm Cine Kodak, a tripod (good lens forgotten), and some ideas, our small company gathered and sketched an authentic history of our Merrimac Valley, finished in two reels - costumes included.\n\nThis time, we were in our own element. Courage took effect in us all, and next came the most elaborate attempt in our careers. \"The King of Allah\u2019s Garden\" (described in an earlier issue of The Cinematographer), a story of Africa\u2019s game country - veldt, desert, and jungle, a cast of fourteen, and some work in natural color.\n\nThe film was shown to over 10,000 people in our vicinity, and part of it found its way to Duncan Little\u2019s \"Amid Desert Sands.\" A scene on New.\nEngland's rock-bound coast. From all sides, we were certain of one thing: New England had possibilities. The question was: Where were those scenes taken?\n\nWe have never used cuttings from any travel films, nor have we been ingenious enough to create the correct artificial backgrounds. We know that there are many flaws in our stories and acting, but we do feel certain that the settings are pretty nearly right. Whatever corrections necessary could be made by any company at much less expense than the creating of artificial ones on the lot.\n\nLocation: Box Office\n\nWe realize that New England\u2019s sunshine is not as regular as California\u2019s, but most stories can be worked with regard to the weather if planned properly. The seasons offer the atmosphere necessary to many stories.\n\nOne point more in favor of shooting pictures in New England is the audience.\nence  appeal.  Box  office  receipts  can \nbe  added  to  greatly  when  any  particu\u00ac \nlar  section  of  our  country  is  favored \nwith  the  working  of  a  company.  Folks \nget  many  good  impressions  from  seeing \ntheir  stars  at  work  in  their  profession. \nToo  often  today  movie  names  turn \ncoldly  on  the  hands  that  feed  them.  If \nthey  want  the  public  to  like  them  they \nmust  like  their  public,  even  when  it \nhurts. \nFrom  our  efforts  at  making  the  home \nOctober.  1939  \u2022  American  Cinematographer  459 \nA  Massachusetts  home.  Another,  a  pos\u00ac \nsible  Twelve  Oaks  in  \u201cGone  with  the \nWind.\u201d  \u201c.  .  .  The  white  house  reared \nits  perfect  symmetry  before  her \u2014 tall  of \ncolumns,  wide  of  verandas,  flat  of  roof \n\u2014  it  had  a  stately  becvuty.\u201d  A  second \ncandidate  for  Twelve  Oaks  from  a  New \nEngland  location.  At  the  bottom  is  a \nsuggested  Danish  Village,  a  Scarboro \n(Me.)  auto  camp. \nof  the  Pilgrim  Fathers  appeal  to  them \nin a new dress and in a setting they have been too blind to see, we create a keen interest. Now comes our work of collecting actual scenes for future productions which at least lend a reality to places far away to depict stories around the world.\n\nLady of the Lake\nA lake in mountain surroundings becomes at the right camera angle Scotland\u2019s Lake Katrine replete with Ellen\u2019s Isle. With a few shrubs, one of Maine\u2019s attractive auto courts, The Danish Village at Scarboro, could for all the world serve in all reality as Miss Garbo\u2019s \u201chaven of refuge\u201d in a story of intrigue in today\u2019s muddled Europe.\n\nIn the woodlands of any coast town are jungle settings enough to make Frank Buck homesick. Unusual rock-walled gorges fit for a Canyon scene in a Zane Gray yarn.\n\nNow we turn our eyes south with the reading of \u201cGone with the Wind,\u201d\nAnd the anxious waiting for the film. Just this past week we scouted for a shot or two for the county plantations, and with a few apologies, have a fair Twelve Oaks or Tara. We like to believe that whatever studio comes to New England in October with a Technicolor camera in its luggage and a plausible homespun story will go back to Hollywood with an achievement in natural beauty unrivaled anywhere in the USA, and if the entire cast and company doesn't regret leaving us here amid our quaint, gorgeous-hued countryside and our tables of harvest plenty, then we will be meek and never venture forth on foot or with pen.\n\nRaygram Tripod Unit No. 60\n\nThe Raygram Cine Tripod, Unit No. 60, is announced for distribution by Raygram Corporation, 425 Fourth avenue, New York.\n\nThis unit, consisting of a two-section chromium plated steel tripod and the new Raygram cine head, is now available.\nRaygram swings and tilts, accommodating any camera from the lightest to the heaviest. Measuring 32 inches when folded, it extends to 5 feet when open. The swing tilt pan head tilts forward, backward, and sideways, adding an additional 6 inches to height. List price for the complete unit is $11.50.\n\n\"In the autumn hills, there is gold \u2014 gold and purple, red, yellow, blue, and green, all the bold, all the subtle coloring of the changing season.\n\nWith Kodachrome full-color film in your camera, you are the master of this colorful spectacle. Your mastery is so easily achieved that your attention stays where it belongs \u2014 on the pictorial possibilities of the scenes before your camera.\n\nKodachrome film is available for both 8 mm. and 16 mm. home movie cameras.\"\nTwo types: \"regular\" for daylight scenes and Type A for movies made by Photo-flood light; both are the same price: $3.75 per 25-ft. roll of 8 mm. film and $9 per 100-ft. roll of 16 mm. film. Fifty-foot rolls and 50-foot magazines of the 1G mm. film are $4.75 and $5, respectively. Ask your dealer for a Kodachrome Exposure Guide (for Daylight); it's a small, neat, easy-to-read, and explicit guide that belongs in every movie maker\u2019s kit. Price, 10 cents.\n\nEastman Kodak Company, Rochester, NY\nOctober, 1939 \u2022 American Cinematographer 461\n\nQuality for the Amateur Cinesmith\nBy James A. Sherlock\n\nThis article is written for the amateur who is not satisfied with the quality obtained in his pictures by the easy snap-happy method. The latitude of sub-standard reversal film is more limited than some film manufacturers claim. Tests were made.\nWith several well-known films returned to the manufacturer's agents for standard processing, the quality of the pictures suffered when a variation from the correct exposure of more than half a stop was made. This does not mean that exact exposure must be given to get a picture, but if that picture is to be of the best quality, the exposure given must be almost correct.\n\nA very instructive article appeared in the January (1939) issue of American Cinematographer by Daniel B. Clark, A.S.C., titled \"Securing Uniform Results with Meters on Interiors.\"\n\nThis supervisor of photography for Twentieth Century-Fox carried out optical bench tests with various exposure meters and writes as follows: 'Throughout these tests, the General Electric Meter proved itself the most consistent available and the most nearly free from individual day-to-day fluctuations.'\nA statement from one of the world's leading cinematographers should convince the amateur that he needs an electric exposure meter. The makers of the General Electric exposure meter claim it will measure light to within half a stop. Tests were made under both artificial and daylight with this meter. It measured reflected light to within % of a stop. It is a double range instrument with two scales, one 10 times as sensitive as the other. The latter is used for measuring light of low intensity.\n\nThe reflected light from any subject is controlled by three factors:\n1. The direction of the light source.\n2. The direction in which the eye or camera is placed.\n3. The tone (or hue) and texture of the subject.\n\nTone and texture are closely allied.\nFor the reason that although the color of two objects may be identical, one of them might have a smooth, highly reflective surface and the other a matt surface which reflects as much light but scatters it more. This fact appears in nature more often than one would expect, but it does not fool a good electric exposure meter. It is more liable to upset calculations if an exposure chart is used.\n\nIf an electric exposure meter is pointed at the horizon, the luminosity will be increased, and subjects photographed with this light reading will appear on the film in silhouettes.\n\nGetting the Measure\n\nIf the main point of interest is the whole landscape, the meter should be tilted downward to 30\u00b0 below the horizon. But if detail is required in any particular object, the meter should be taken to that spot, and only the reflected light from the object should be measured.\nIf this is not possible, measure a nearby object of similar color and receiving the same amount of incident light. The photo electric cell is a scientific method for accurately measuring light variation and is essential for amateur cinematographers if quality is required.\n\nDifferent kinds of emulsions are not equally sensitive to light. Eight millimeter and sixteen millimeter panchromatic film has almost superseded orthochromatic stock and is sensitive (more or less) to the visible spectrum. Supersensitive Panchromatic is more sensitive to red than ordinary Panchromatic and is used to advantage in artificial light, which is rich in red but deficient in blue.\n\nSome amateurs prefer to use Super Pan film under all conditions. It has a soft effect, shows detail in shadows but has less contrast between adjoining tones than ordinary pan film.\ngives a snappy picture with well-defined tones, but care must be taken if it is exposed in summer when the sun is almost overhead. Under this condition, reflectors are used to lighten shadows that otherwise would appear very black and lack detail. When shooting close-ups in daylight with either color or black and white film, reflectors should be used. No filter is required for Kodachrome when used on ordinary scenes in sunlight, but for distant landscapes, sea shore, snow scenes and aerial photography, a Kodachrome haze filter is recommended. Kodachrome records ultra-violet light as violet, but a Kodachrome haze filter will correct this. It is not necessary to shoot color with the sun at the back of the camera, but if the color in shaded areas is to appear natural, white reflectors should be used. It is surprising that the difference in color between the sunlit and shaded areas is so pronounced.\nAn amateur neglects the use of these accessories. Stills taken of most outdoor sets for professional pictures reveal many reflectors. They are easy to make, and the cost is small.\n\nMaking a Reflector\n\nCardboard, fiber board, celotex, and three ply are suitable. A convenient size is 4 feet by 3 feet. If that is too large to carry, they can be cut in two and hinged on the inside to protect the reflecting surface.\n\nThe reflector should be mounted on a light framework, the corners braced, and the surface sprayed with two or three coats of flat white paint which will reflect a soft white light suitable for color or black and white film.\n\nOther types of surfaces can be made by using white enamel or aluminum paint, but these reflect a harsher light. With a very little practice, the eye will soon become accustomed to see when and where reflectors are required.\nThey should not be used to evenly balance each side of an object, but to brighten the shadows where detail is desired. The moviemaker must remember he is painting with light and that correctly balanced light and shade give the picture depth.\n\nThe majority of objects photographed are colored, but unfortunately, pan or super pan film do not register colors in exactly the same tones as the human eye sees them. This is particularly noticeable in the blue region of the spectrum.\n\nColored filters may be used in front of the lens to compensate for this deficiency. They are also used in sunlight to create pictorial effects and to accentuate shadows or particular colors.\n\nIf the sky is overcast, filters lose their usefulness. It must be remembered that by placing a filter in front of a lens, the diaphragm must be opened.\n\n(American Cinematographer, October 1939)\nCompensate for the amount of light absorbed by the filter. If you use a filter that darkens one part of the spectrum, it will at the same time lighten another. If the correct filter is not chosen for a scene, the sky may appear too dark, grass or trees may appear white, and yellow or red flowers may have the same tone as white flowers. The chart accompanying this article shows various colored strips of paper photographed with different filters. A study of this shows that a colored filter lightens its own colored strip but darkens others, and unless care is taken when choosing a filter to use, it may appear overfiltered and unreal.\n\nWhen buying filters, a serious amateur cinematographer would be well advised to standardize the size of his filters and make or buy a lens hood.\nA 2 by 2 inch filter will hold for those not so serious, lens manufacturers produced a limited choice of filters made to fit each lens. A 2 by 2 inch filter is large enough to cover the front of any cine lens regardless of its focal length. An advantage is that these filters can be used with a still camera to test their reaction to a color chart. This test is a simple, cheap and effective method to learn the possibilities of a new filter or the characteristics of an emulsion, but ensure the test is made with an emulsion similar to the one intended for the movie camera. Most filters consist of a piece of gelatin film cemented between two pieces of optical glass; they should be treated with as much care as lenses and kept in their case when not in use.\n\nCHART SHOWING KODAK EMULSIONS:\nType of Film\nCine Kodak Safety\nCine Kodak 8\nSS Panchromatic\nSuper XX\nSuper X\nx iy2\nG\nAero 1\nx iy2\nAero 2\n\nFilter and Camera Speed Compensation Chart\nExposure at Camera\nFilter Factors\niy2x\nSpeed of 16 Frames\nCompensation for Speeds\nPer Second (F.P.S.)\nF.P.S.\nF.P.S.\nF.P.S.\nF.P.S.\nF.P.S.\nF.P.S.\nF.P.S.\nNormal Exposure\nF\nNormal Exposure\nF\nNormal Exposure\nF\nNormal Exposure\nF\nNormal Exposure\nF\nNormal Exposure\nF\nNormal Exposure\nF\nNormal Exposure\nF\nNormal Exposure\nF\nNormal Exposure\nF\nNormal Exposure\nF\n\nNote: Many stops indicated by the above chart are not marked on the lens. Their positions can be estimated by the eye with sufficient accuracy.\n\nG Filter Used\nColour E 0 Grey Tones\nSCARLET .\nRED-ORANGE .\nYELLOW . .\nPALE YELLOW-GREEN\nGREEN .. ..\nBLUE-GREEN ..\nBLUE .\nBLUf-PURPlE .\nWA Filter Used\nCOLOUR EO Grey Tones\nSTRIPS KhafiCTfo SR ritim\nSCARLET . .\nRED-ORANGE.\nYELLOW . .\nRAIYEUGREEN\nGREEN .\nBLUE-GREEN..\nBLUE .\nBLUE-PURPLE .\nG. FILTER. An orange filter which produces over correction, absorbs the blue light which is prevalent in shadows on a clear day, thereby making them appear darker. It will remove haze and atmosphere from a scene, but should not be used on a seascape unless it is required to make the water appear almost black.\n23 A. Is a red filter used to accentuate clouds or white buildings against a blue sky? It gives a strong contrast but it is not advisable to use so deep a filter in average pictorial work as greens will appear almost black and shadows are greatly accentuated. This should be used only as a special effect filter.\n\nK I FILTER USED:\nRED .\nSCARLET . .\nREOORANGE\nYELLOW .\nPALE YELLOW-GREEN\nGREEN .\nBLUE-GREEN.\nBLUE, BLUE-PURPLE, COLOURED GREY TONES, STRIPS mmnti tr mni\u00bb, 3N5 FILTER USED, COLOUR EO GREY TONES, STRIPS mmcifD 8\u00bb, SCAFLET, REOORANGE, YELLOW., PALE YELLOW-fSEEN, GREEN, BLUE GREEN, BLUE, BLUE PURPLE\n\nK. 1. Slightly reduces intensity of the sky, accentuating clouds.\n\n3 N. 5. Combination of an aero 1 and a neutral density filter. Does not give over correction but produces highest pictorial qualities on either pan or super pan film. Recommended to the amateur.\n\nOctober, 1939 \u2022 American Cinematographer 463\nST. PAUL CLUB TESTS\nCINE.KGBAK SUPER. X\nas a prize for the best film. As a committee to arrange details of the contest,\nHarmon will be assisted by Mrs. H. and Harold Lains.\nThe American Cinematographer announced that the new Eastman Super-X film in double-eight width would be three times as fast as regular \"Pan.\" Intrigued, the St. Paul Amateur Movie Makers Club decided to investigate.\nAt the first meeting of the fall season, about 45 people gathered around the clubrooms in the Commodore Hotel, curious about what was to come. Cameramen Victor Engquist and Russell Chappie prepared their Keystone 1.9 and Eastman 2.7 cameras with the new fast film, set up a few photofloods, peered through their finders, and waited, tripod-conscious, for the influx of club members.\nKen Hezzelwood, club president, ensured the pictures of the club members wouldn't look like old-fashioned daguerreotypes.\nEach person was asked to help move furniture from a side room into the main club room. Man, woman, or child, each one suddenly found himself toting projectors, screens, chairs, rugs, tables, and tablecloths through a narrow passageway that opened suddenly into the glare of photofloods.\n\nJohn Stees, program chairman, gave additional instructions to remove any remaining formality. The first ones through saw the whole show, but everyone enjoyed their roles as actors instead of cameramen. Furthermore, very few missed the second meeting when the films were shown.\n\nA stenographer caught some of the comments. \"Why can't we go in? Why do we have to wait here?\"\n\n\"Oh, I say, why all the lights \u2014 gosh, the people are laughing. Hello, Stees, \u2014 oh, you want us to stop. Say, who is taking pictures \u2014 gosh, those lights are blinding.\"\nThe members discussed taking the rug over and laying it on the floor instead of carrying chairs for their meeting. They marveled at those carrying an oversized chair. One announced the purpose of the experiment: the film was taken without additional lighting to test the film's ability to capture underexposed territory without overexposing nearby objects or people. Surplus film was used at a concert in the St. Paul auditorium and for pictures of rapidly moving machinery, such as saws, emery wheels, and buffers, to study the effect of high-speed motion. During the second September meeting, the films were projected, resulting in a hilarious scene.\nThe audience approved the extempore acting of the club members. A small group will edit the film, form a continuity and title it, to demonstrate how ordinary miscellaneous pictures can be worked into a running story and interest heightened. During the two evenings, 8 and 16 mm vacation pictures were screened, and an illustrated talk and discussion showed how club members made an animation for their school police documentary film, involving more than 12,000 individual movements to show school children crossing through heavy traffic. The club will have a contest this year, and Lacey Harmon has offered a plaque with a polished metal camera model as a prize. Philadelphia Cinema Club\n\nGeorge Pittman opened the season at the Hotel Adelphia with a showing.\n[his film \u201cService With Safety\u201d is a black and white print for a kodachrome original, photographed by him for the Bell Telephone Company of Pennsylvania. The film runs 1,050 feet of 16mm. size and depicts the wrong way and the right way to do work safely. The film was accompanied by spoken comments of Mr. Pittman, with the exception of the lead, no titles were used. The film was offered for critical comment, and in order to facilitate discussion, Mr. Rasch asked Messrs. Brink, Bowersox, Hoot, and Woodcock to carefully check the film and report in open discussion on their findings. Space does not permit a detailed account of the \"question and answer\" discussion, but it lasted for over an hour and comments were passed back and forth to the enjoyment of everyone. The comments indicated clearly that the]\nmembers were all \"on their toes,\" able to spot errors in photography and scenes. They expressed their views on scene lengths, duplicates, speed, composition, and editing, including a rather technical discussion around the subject of \"cutting.\" Particular mention and credit should be given to Messrs. Hirst, Hoot, and Pittman for their definitions and treatment of this subject.\n\nAt the request of the membership, Mr. Hoot put on his film of \"The New York World's Fair,\" running 1250 feet of 16 mm. kodachrome, with a running comment by himself on the scenes.\n\nOpen discussion brought forth comments that members of the club were able to produce films ranking very high in quality, approaching professional results. However, this should not deter the starting amateur from submitting the results of his efforts for review and comment.\nThe Film Leader club for 1939 was awarded to Messrs. Brady, Bowersox, Finger, Hirst, Hurth, and Woodcock for films exhibited in the 1939 season. B. N. Leyene, Publications Committee. Kodachrome leader strips for each member of the St. Paid Amateur Movie Club were made this summer by Lacey Harmon, L.C. Jefferson, and John Stees. The leaders were distributed at the second September meeting of the club.\n\nAmerican Cinematographer, October 1939\nINDIA'S FILM HISTORY PASSES IN REVIEW\nBy F. Berko\n\nIndian film production is just over twenty-five years old. There are different claims as to which was the first film produced in India, but it seems to have been either \"Pundalik,\" produced by Nanabhai Chitre, or \"Harish-chandra,\" by D.G. Phalke. Both of them seem to have been produced in 1912, and both were shown under the title \"Lokahit Jivan\" or \"The Ethics of Life.\"\nmost primitive conditions, without any publicity, to a very indiscriminate public. But while \"Pundalik\" is said to have been a complete failure, for \"Harishchandra\" an enormous success is claimed.\n\nBe this as it may - and it seems very difficult indeed to ascertain the truth about many things in the Indian film industry, formerly as well as nowadays - it is certain that Indian films developed comparatively slowly for the next twenty years. At the beginning, these were mostly mythological and \"stunt\" pictures which were seen by low-class audiences only.\n\nLater on, their standard started to improve slowly, and the last of the \"silent\" box office hits was, incidentally, the first film to put Indian pictures on the world market. It was called \"Light of Asia,\" and was produced in collaboration with Emelka Films of Munich, Germany.\nShot in India, starting from March 1925, by a German director and cameraman (both working for the same producer at one of the leading Indian companies for the past five years), the film had its premiere in London, where it ran with considerable success. Claims suggest 400 prints were distributed worldwide.\n\nWith the advent of talkies, which involved more careful preparation due to greater financial investments and the necessity of employing a more specialized technical staff, better actors, etc., Indian films rapidly improved in standard. Films depicting aspects of Indian life, referred to as \"socials,\" were among these improvements, though still in a very much actionized form.\nProduced and served to attract the attention of a more serious public to the films as a medium of expression. In India, actresses, difficult to acquire even nowadays, began to be recruited from higher strata of the complicated Indian social system. In turn, they attracted a better public to the cinemas.\n\nAs an added attraction to Indian audiences, well-known Indian singers and dancers could be brought before a very wide public.\n\nThe Present\nIn the last five years, the quality of Indian films improved very rapidly. Today, the best films of the two-three leading film companies have in some respects reached the technical level of a good B-Class American picture. Theoretically, it is perfectly possible for many more Indian films to reach that level, and in some cases, they have.\nDespite the surprising fact that it cannot be surpassed, in India, a lot of work is done with very primitive and defunct equipment in sheds that, despite best intentions, cannot be called studios. However, on the other hand, the most advanced technical equipment is available and in some cases in use in this country.\n\nThe primary reason for the lack of quality, aside from the language and distribution difficulties explained later, is that the public, the overwhelming majority of which is illiterate, is so indiscriminate and easily satisfied that there is no urgent need to produce better films for them.\n\nTherefore, producers, directors, writers, editors, technicians, musicians, setting-men, and others can remain unqualified for their jobs compared to their counterparts elsewhere.\nEuropean and American confreres, a great number of them are still present. The film industry has become the eighth largest industry in the country. As no raw film is manufactured in India yet, all stock used has to be imported, mainly from America and Germany. India produces approximately 200 feature films of roughly 14,000 feet each annually, making it the second largest consumer of raw film in the world. Import duties on raw and exposed film have grown significantly over the last fifteen years. The industry has invested approximately $60,000,000. There are approximately 75 producing companies in India, with Bombay, Calcutta, Poona, Madras, and Kolhapur as their centers. An expenditure of about $35,000 can be estimated for each of the $200 films.\nFeature films produced annually, approximately $7,000,000 is spent. About 40,000 people derive income directly from the industry.\n\nShort Films\nWhile feature films have considerably improved in quality, if not increased numerically, it's important to note that one film today may cost anywhere from 100 to 10,000 times as much as it did twenty or even ten years ago!\n\n\"Shorts\" have not kept pace, so while there were 1,181 foreign shorts, including newsreels, in 1937, compared to 355 foreign feature films, the shorts were of fairly good quality overall. However, there were only 64 Indian shorts to 180 feature films, and these shorts were without exception of very poor quality.\n\nAs for documentaries produced in England, the quality was particularly poor for shorts.\nThe former G.P.O. unit, Realist Films, and those for the Gas Light and Coke Company, as well as Government-produced films in America, hold significant value. However, it's regrettable that India lags behind in this regard. The reason is that films cannot generate large sums of money, making them unattractive to most film company investors. Moreover, development in this area is impossible as long as the length of feature films is not legally restricted. With films lasting 2 hours and more, it's not feasible to include proper newsreels or documentaries in a daily schedule of three shows starting from 2 p.m. or even 3:30 p.m. Distribution.\nThis refers only to cinemas showing Indian films. The number of cinemas has greatly increased in the last few years, and there are now approximately 1500, including about 500 traveling cinemas. Out of the permanent houses, about 54% show Indian films only, about 27% show both Indian and foreign films, and the remaining 19% show foreign films only. While there are only about twelve or fifteen distributors, the majority representing American and English producers, supplying roughly the 465 cinemas showing foreign films, the situation is much more complicated where Indian films and the approximately 250 distributors handling them are concerned. The lines differ along which these men or firms distributing Indian films work. Some are sponsored by men with large fortunes. (October, 1939) American Cinematographer 465.\nProducers typically acquire exploitation rights for films through one of two methods: outright purchase with lump sums or percentage-based deals of about 12-15%. The former secures all rights up to a fixed realization, after which the split is 50-50. However, producers often face conditions requiring a minimum six-week run at the initial showing to ensure good distribution. Consequently, many large producers own or lease cinemas for their new films' premieres and strive to attract audiences and secure favorable publicity.\nThis last factor, apart from some other reasons, contributes heavily to the situation that there is an absence of honest film criticism in India. Few news papers or magazines, by various means such as being given advertisement space, cannot be \"influenced. First, if a picture runs for the required time or more - India is the country where films may run to anything up to one year - it is certain to be a success, and good returns are assured. If it fails to draw, however, the producer will have to look out for a distributor and take the best offer he can get. Hence, in order to avoid such risks, many producers try to obtain a contract with some distributor, based upon the latter's knowledge of previous successes of the producer or upon confidence in their judgment.\nProducers and distributors' relationships involve the latter acquiring exploitation rights to films in exchange for contributing to production costs. Distributors link up with cinemas in their territories to facilitate such contracts. These arrangements, similar to the English and American \"block-booking\" system, have advantages and disadvantages for producers, as explained in the case of the \"free-booking\" system.\n\nProduction and distribution face various challenges, including the language issue (India having approximately 222 vernaculars). Some cine camera manufacturers advise intending buyers to purchase a movie camera.\nThe suggestion that a film's personality can vividly convey the authenticity of a place may seem exaggerated to the prospective buyer. However, this was proven to members of the Australian Amateur Cine Society during the first all Australian Sherlock Gold Cup Competition. The cup and a photographic order worth \u00a310 were awarded to \"Coast Town,\" a 16mm. monochromatic film produced by Mr. R. Lowe. This deliberate, slow-moving film captured the true atmosphere of a simple Australian fishing town. There was no attempt to glamorize local people; they went about their daily tasks oblivious to the camera, displaying only the wholesome countenance found in those who live far from the modern life city dwellers know. Bob Lowe's friends could expect nothing less from him: quiet, dignified, and typically Australian.\nThe second prize was awarded to \"To the Zoo,\" a Kodachrome film produced by L. Solomon, who expressed a colorful personality with sincere love for his family. They are shown enjoying a day at Taronga Park. This picture is typical of the producer, but suffers from the same fault as most kodachrome films in that it needs cutting, but might be re-edited into a first prize winner.\n\nThree years ago, Frank Brooks thought he was giving too much time to amateur theatricals, gave them up, and bought a movie camera. The first picture he made, \"What a Day,\" won him third prize and brings with it a whiff of the stage.\n\nThe story centers around a day spent on an Australian beach by about a dozen people. In the film is a Hero, Heroine, Villain (with black moustache), and a drunk. The story flows smoothly to a happy ending and considering it was the producer's first film, it is quite impressive.\nThe producer's first film is a good effort, but mark you! The movie bug bit harder than its contemporary. \"Feathered Features,\" by Foster Stubbs, was placed fourth. It is a bird story of one of nature's game creatures, the butcher bird, which is shown attacking the camera man as he erects a remote control camera to film its nesting period. This film was taken by a methodical person for film purposes, and due to the large language zones it covers, it is easy to see that the Indian film industry cannot yet be as developed, organized, settled, stable, and satisfactory as desired, and as it is hoped to become in a not too distant future. A calm mechanical-minded person with plenty of patience and care for detail made these films. Four of the pictures reflected the character of the person who made them. The films were\nTwenty-two films were entered in the Sydney competition on July 24 from various states in Australia. Not one bad film among them. The Australian Amateur Cine Society received the cup for the National Competition, with the stipulation that all films must be exposed in Australia. The donor was anxious to have a few typical Australian films sent overseas each year for International competition. Special prizes were awarded: to the South Australian Amateur Cine Society for its comedy \"Cleaning Up\"; and to Mr. Alford of the Victorian Amateur Cine Society for his photoplay, \"Lunch Lieut. Lewis. Signal Corps, Under Hollywood Training.\" Lieut. Harry J. Lewis of the Signal Corps of the United States Army, the seventh officer sent to Hollywood.\nLieut. Lewis, a graduate of the United States Military Academy at West Point, Class of 1935, arrived in Hollywood in September to study motion picture problems under the cooperative training program carried on between the War Department and the Research Council of the Academy of Motion Picture Arts and Sciences. He came from Fort Monmouth, N.J., where he had completed the course in the Army Signal School. In addition to spending six months in the studios, studying all phases of motion picture technique, the training course included several weeks of study of various types of motion picture equipment. The first two weeks of Lieut. Lewis' stay in Hollywood were spent in the plants of the Eastman, Dupont and Agfa Film companies, studying the handling of various types of film.\nraw stock film used in picture production, followed by several weeks spent with sound equipment companies where he will learn the details of the ERPI and RCA sound recording systems.\n\nIn Australia's Contest, 22 films are entered. (American Cinematographer, October 1939)\n\nGreatest of All\n\nIn the fifty years since Eastman supplied the film for the world\u2019s first movies, there have been many great Kodak emulsions designed especially for the motion picture industry. The greatest of all are Eastman Plus-X, Super-XX, and Background-X. Today\u2019s ruling favorites in the studio and on location. Eastman Kodak Company, Rochester, NY. (J. E. Brulatour, Inc., Distributors, Fort Lee, Chicago, Hollywood.)\n\nEastman\nPlus-X Super-XX\nfor general studio use for all difficult shots\nBackground-X\nfor backgrounds and general exterior work\nOctober 1939, American Cinematographer 467\nDensitometry and Its Application to Motion Picture Laboratory Practice\nBy Emery Huse and Gordon Chambers\nMotion Picture Film Department, Eastman Kodak Company, Hollywood, California\n\nArticle II\n\nDensitometers come in two types: visual and physical. The human eye is used with visual instruments to compare the light passing through the material being measured against some standard, using a photometric field. Provision is made for varying the amount of light in either one side or the other of the photometric field to restore brightness balance after a density has been introduced into one field. The adjustment required to restore this balance is a measure of the density. Physical densitometers employ some light-sensitive material to convert the light to electrical signals.\nTrical energy can be measured using various types of meters. Densitometers of these types are used in motion picture laboratories, with visual ones being more common. Two kinds of visual densitometers are available on the American market: one of the polarization type and the other of the balancing wedge type.\n\nPhysical densitometers also come in two types. In one type, density is determined by the deflection of a meter measuring the sensitive cell output. In the other type, the density to be measured is offset either electrically or optically to restore balance, representing the null type.\n\nAt present, the commercial availability of physical instruments is limited. Many of those in use in Hollywood have been constructed in-house.\nusers. Each of the various kinds of densitometers will be discussed separately, and typical examples described.\n\nB. Visual Densitometers\n1. The Polarization Photometer.\nFigure 2 shows in schematic form the optical system of a typical polarization photometer. The photometer head itself is usually mounted over an evenly illuminated pot opal glass so that equal amounts of light enter the two windows or openings in the nose-piece, W1 and W2. After passing through the rhombs, R, whose purpose is to increase the separation of the two, measuring fields, the beams from the two openings are polarized in mutually perpendicular planes by the Wollaston prism, PW. These two plane polarized beams illuminate the two halves of the biprism, PB, after passing through the Nicol prism, PN. If the beams entering the photometer are unpolarized and pass through a polarizing filter before entering the photometer, the two beams will be separated by the biprism and each half will be detected by a separate photocell. The difference in light intensity between the two photocells is proportional to the degree of polarization of the incident light.\nThe photometric field formed by the biprism will be uniform when the optical axis of the Nicol prism is at 45 degrees to that of the Wollaston. When a photographic density is placed before one of the windows, the equality of brightness in the two halves of the field will be disturbed. However, it can be reestablished by rotating the Nicol to decrease the comparison beam to the same brightness. The angle through which the Nicol is rotated is a measure of the density of the photographic deposit.\n\nTo obtain a true measure of transmission or density, the optical axes of the Wollaston and Nicol prisms must be properly oriented. When this is the case, complete extinction of one beam will be obtained for angular settings of 0 degrees, 90 degrees.\nThe two fields will balance in brightness at 45 degrees, 135 degrees, 225 degrees, and 315 degrees, given that the instrument is clean and both openings in the nosepiece are equally illuminated with unpolarized light. In some forms of this instrument, the scale reads directly in transmission or density, or both, and extinction and balance points are indicated.\n\nFailure to obtain such balance points accurately indicates a lack of uniformity of illumination of windows W1 and W2, partial polarization of incident light, lack of optical cleanliness, or improper orientation between the Nicol and Wollaston prisms. If the complete photometer head is rotated about its vertical axis through an angle of 180 degrees after which equal and opposite discrepancies are found, the fault lies in the illumination. Provision will be found on the instrument for adjusting the illumination.\nThe mounting for angular adjustment of the Nicol or Wollaston prism. It cannot be stressed enough that an adjustment involving a resetting of the prisms should not be undertaken by one not thoroughly familiar with the optics of the instrument. For more complete details concerning this type of photometer and directions for the precise adjustment of it, the reader is referred to \"The Principles of Optics\" by Hardy and Perrin* and \"Photometry\" by Walsh.\n\nIn Table II is shown a conversion table for determining density from the angular readings on those polarization densitometers which are provided with a scale in degrees only. It is customary in photographic practice to make all readings in that quadrant lying between 0\u00b0 and 45\u00b0. In some cases, the film to be measured is placed under the nosepiece of the photometer in such a way that a reading is taken directly from the film.\nThe unexposed area beneath the comparison window in developed film is subtracted during reading, allowing for the density of the base and emulsion fog to be accounted for. Proper allowance should be made in interpreting results and correlating them with measurements taken otherwise. No significant difference will be found when measuring motion picture films with the emulsion towards or away from the opal glass.\n\nSince the comparison beam is decreased in brightness by rotation of the Nicol until the halves of the field balance, the field becomes successively darker as higher densities are measured. The instrument should be used in a not too brightly lit room.\nWhen the angle between the prisms in polarization densitometers is less than 10 degrees, scattered light may significantly impact readings. To minimize this effect, use a neutral density of approximately 1.0 in the instrument for comparison when measuring photographic densities exceeding this value. Add the density of the compensator to the test density value to reduce the impact of scattered light and expand the effective density range of the instrument. Measuring on gray or colored base films can be achieved by placing a base piece from the same roll in the comparison field. The emulsion should be used for this purpose.\nWashed from the base. Here, no change needs to be made in the measured value, as the effect is merely to discount the base color. Strictly speaking, a piece of base from which the emulsion has been washed should always be used in the comparison field, even for \"clear\" base such as in positive film. The error introduced by failure to do this is small, however, and because all density specifications in use today include the \"clear\" base, there appears to be no reason for altering current practice. In attempting to compute relative level differences of sound tracks on clear and colored bases, this should be taken into account. Exactly the same variable density sound tracks on a clear and colored base would appear to have a volume level difference of about 0.6 db, if no correction is made for the clear base. To compute the level difference between two track densities, this difference should be subtracted.\nThe following equation is used: D1 + D2 = D, where D1 and D2 are the density values. In the case of projection prints, use the \"projection\" density values. For negatives, substitute the diffuse value in the equation and multiply the result by the negative gamma.\n\nTable II\n\nAngles n u\n\nOctober, 1939 American Cinematographer 469\nArt Reeves Motion Picture Equipment Studio and Laboratory Tested Since 1929\nAutomatic Developing Machine Complete in Every Detail Hollywood users can attest to its superiority\n- Sensitometer\n- Variable Density Sound System\n- Variable Area Sound System\n- Single System\n- Re-recording System\n- Microphone Boom\n- Reeves Lites\n- Sound Accessories\n- Laboratory Accessories\n\nArt Reeves\nCable Address: ARTREEVES\n7512 Santa Monica Blvd. Hollywood, California, USA\n\nAgfa Issuing Twin Eight Hypan Fitting All Doubles\nTwin Eight Hypan, a new reversible film especially designed for use in double 8mm cameras, has been added to the line of Agfa films. This new emulsion is three times faster than Agfa single 8mm films and combines exceptionally fine grain and brilliance with very high speed.\n\nThis combination of emulsion characteristics enables the taking of movies of numerous subjects, heretofore beyond the range of 8mm cameras. In addition, the Twin Eight Hypan film provides a balanced panchromatic color sensitivity that makes it suitable for use in daylight or artificial light, a wide latitude that minimizes exposure errors, unusual resolving power and a brilliant gradation.\n\nHalation protection is supplied by the particularly effective coating used on other Agfa reversible films.\n\nMade by Agfa in Binghampton, NY, Twin Eight Hypan Reversible.\nThe Research Council of the Academy of Motion Picture Arts and Sciences issued a supplement to the previously issued technical bulletin of October 10, 1938 (\"Third Revision, Standard Electrical Characteristics for Two-Way Reproducing Systems in Theaters\"), containing specifications for Standard Electrical Characteristics for International Projector Simplex Four-Star Sound Systems. Use of these standard electrical characteristics will permit the theatre to derive the maximum advantage from the latest studio sound recording practices and will result in a more uniform sound quality in all theatres using these systems. These standards, adopted by the council, specify:\n\n8mm film is wound in 25-foot spools containing 50 feet of film at a list price of $2.25, which includes processing at any authorized Agfa laboratory.\nAfter holding numerous listening tests in several theaters in the Southern California area, these are a continuation of the work of the Council\u2019s Theatre Standardization Committee to further coordinate between the theatre and studio groups.\n\nPacific Laboratories Completes 16mm. Program\n\nThe Pacific Laboratories, located on the fourth floor of the Beakin Building, 1027 North Highland avenue, Hollywood, conducts complete 16mm. film service. This includes a sound truck. The company was moved to create these facilities in response to a demand for specialization in sub-standard work, with recording directly on 16mm. film.\n\nA twelve-tank 16mm. developer, with a capacity of 20,000 feet a day, has been built from special plans. Production of sound tracks, composite prints, duplicate negatives, editing, etc., are also part of the service.\n\nCine-Kodak Outdoor Guide\nExposure data for all Cine-Kodak films, 8mm. and 16mm., black-and-white and Kodachrome, are provided in a new Cine-Kodak Outdoor Guide retailing at 10 cents. One dial adjustment yields a simultaneous exposure reading for all films, and for light, average and dark subjects with Kodachrome. Four daylight conditions (from \"bright sun\" to \"cloudy dull\") and four angles of lighting (back, side, flat front, and open shade) are covered.\n\nNorman-Willets' Photo Supplies\nPhoto Supplies, a book on cameras, films, paper, chemicals and sundries, has been issued by the Norman-Willets Camera Center, 330 West Washington street, Chicago. The book is 6 by 9 inches, contains 116 pages, and is profusely illustrated. It is a well-printed book, being set in small type as a rule carrying a lot of matter attractively presented.\n\nAmerican Cinematographer, October 1939 - Issue 470.\nQuality for the Amateur Cinesmith (Continued from Page J+63)\n\n'K? MITER USED\nColoured 6-toned strips:\nSCARLET . . .\nREO-ORANGE .\nYELLOW .\nPALE YELLOW-GREEN .\nGREEN .\nBLUE-GREEN .\nBLUE .\nBLUE-PURPLE .\n\nK. 2. Gives satisfactory contrast of clouds against a blue sky. Yellows will appear almost white.\n\nNO MITER USED\nColoured grey-toned strips:\nRED .\nSCARLET . . .\nBEO ORANGE .\nYELLOW .\nPAIE YELLOW-SHEEN .\nGREEN .\nBLUE-GREEN\nBLUE .\nBLUE-PURPLE\n\nNo filter used.\n\nTo arrive at the increase of exposure needed when a colored filter is used, it is necessary to square the F number which would be used normally, divide that by the filter factor, then take the square root of this figure:\n\nThe square root of 126 is approximately 11. Thus, if a two times filter is used on a scene that would normally require an exposure of 16, then the exposure needed is:\n\nSquare root of (16 * 11^2) = 25.92. Therefore, the exposure should be increased to approximately 26.\nWhile this requires an 11-stop opening, smaller stops present more complications when larger apertures are needed, such as for an F4 scene photographed with a two-times filter, which requires an additional stop.\n\nGive spectators a thrill!\nHome viewers who watch The Big Game through your movies or projected stills will be excited by your pictures when displayed on a Da-Lite Glass-Beaded Screen. Its greater light reflective qualities make every shot brighter, sharper, clearer, and more real. The model shown above, priced from $2.00 to up, can be set up on a table or hung against a wall. Other styles include hanging screens, priced from $7.50* to up, and the popular Challenger, with a tripod pivotally attached to the case, priced from $12.50* to up. Ask your dealer for a demonstration! You too will agree \"Da-Lite is the buy!\"\nFor literature and information on the nearest dealer.\n\nPatent Reg. U.S. - Glass-beaded SCREENS.\nDA-LITE SCREEN CO., INC.\n\nThis chart is helpful if a quick answer is required for a filter factor problem. It also shows the increase in exposure necessary when the normal speed of a camera is varied.\n\nOn the left of the Ilford Test Chart are colored strips of paper. On the right are gray tones which approximately match the luminosity of each colored strip. Various filters were used to photograph this chart in daylight. The blue strip was much darker than \"sky\" blue. Kodak Class \"C\" film was used to make the tests. This film has approximately the same color sensitivity as all Kodak cine films except for cine-Kodak 16mm. Panchromatic. In other words, the test was made with film equal in color sensitivity to super sensitive.\nMovie makers who take pride in their World's Fair and vacation films now have an excellent aid in preparing their footage for audience presentation with the new Besbee Ediscope.\n\nOctober, 1939\nAmerican Cinematographer 471\n\nAgfa Ansco offers fast service on football films. Following a custom established several years ago for the benefit of coaching staffs, Agfa 16mm reversal laboratories will provide special service on the processing of football films during the coming season. All of the Agfa 16mm reversal laboratories in the United States will remain open over weekends for processing of football films. These will be finished and returned the same day as received, permitting viewing of the films.\nCoaches and football enthusiasts should send films for quickest service to the nearest processing station after the game. For fastest delivery, films should be sent by parcel post special delivery, air mail, or messenger. Films will be returned by special delivery if over 300 feet are involved. For air mail shipments and smaller quantities, sufficient return postage and instructions should be included. Mark the outside of the parcel \"Football Films.\"\n\nAgfa Reversal Laboratories offering this special service include: Agfa Ansco Corporation, 245 West 55th street, New York; Agfa Ansco Corporation, 433 East Erie street, Chicago; Agfa Ansco Corporation, 1224 South Hope street, Los Angeles; Agfa Ansco Corporation, 121 Julia street, Jacksonville, Fla.; Motion Picture Service Company, 125 Hyde.\nSan Francisco and the Calvin Company, 26th and Jefferson streets, Kansas City, Mo.\nGermany's First Animated Cartoon Announced in Color\n\nThe production of Germany's first animated cartoon has been announced by Acting Commercial Attache R. M. Stephenson in Berlin to the Department of Commerce.\n\nThe animated film will be in color and based on a fairy-tale plot specially written for the project.\n\nLittle publicity has been given to the locally produced \"Maerchen-Trickfilm,\" or animated cartoon, with the only reference to it being a short announcement in the National Zeitung.\n\nThe production of this type of film in Germany, according to the Commerce Department report, is noteworthy as only a few months ago German newspapers were commenting ironically on the lack of such productions in the country.\nThe success of American animated cartoon films. In this connection, one commentator wrote that \"Germany has not yet found it necessary to fall back on fairy tales for our films \u2014 we still have ideas and audiences that can appreciate them.\" Agfa Releases Superpan Supreme Film and Packs\n\nAgfa Superpan Supreme, the high-speed, fine-grained, panchromatic emulsion which has been so popular among motion picture photographers and miniature camera users, is now available in roll and pack form. Providing twice the speed of Agfa Superpan roll and pack film, which it replaces, the new Superpan Supreme brings added subject range to every photographer's equipment. In addition, the new film provides a notable improvement in fineness of grain and a better balanced color sensitivity.\n\nMade by Agfa Ansco Corporation in Binghamton, NY, the new Superpan Supreme.\nSupreme is available in all popular sizes of rolls and packs at no increase in price over Agfa Superpan formerly supplied. Until new cartons can be supplied for all sizes, some sizes will be supplied in old-type Superpan cartons, identified, however, as the new Supreme type by a small label or the imprinted word \"Supreme.\"\n\nMr. Roosevelt, Won't You Please Run Again? Ready for release on 16mm. sound film is the one reel musical short, \"A Musical Message From Hollywood,\" directed by Frank Tuttle and Herbert Biberman, featuring Charles Purcell and \"The Notables\" Quartet.\n\nThe picture introducing the popular song \"Mr. Roosevelt, Won't You Please Run Again?\" was recently previewed with acclaim at the Young Democrats Convention in Pittsburgh, where 2000 copies of the phonograph record were distributed.\nsheet music were purchased by delegates\nPrints of the film are available for immediate unrestricted outright sale for 8 M M BULK FILM 16MM\nFine grain. Serai-ortho Non-halation. Weston 8. For titles or reversals. Lab. packed. Free formulas ea. order.\nLoad Your Own and Save Money\n400 Ft. Straight 8mm for Univex, Keystone, etc. $3.50\n800 Ft. 8mm In dbl. 8mm width for all dbl. 8mm cameras $5.00\nSPOOLS: \u2014 Univex. 5 for $1.00 Dble. 8mm, ea. 40c\nWrite for big bulk film catalog. All film guaranteed fresh stock. Above special offers for American Cinematographer readers. Please mention ad when ordering.\nSEND YOUR ORDER TODAY!\nHollywoodland Studios\n\"The West\u2019s Greatest Film Mail Order House\"\nSouth Gate California\nAn important scene from RKO Radio's \"In Name Only\" starring Carole Lombard, Cary Grant, Kay Francis and Helen Vinson.\nBardwell & McAlister, Inc.\nMotion Picture Electrical Equipment, 7636 Santa Monica Blvd., Hollywood, California, Tel. HO 6235\nAmerican Cinematographer, October 1939, Volume 54, American Photographic Publishing Company, 353 Newbury street, Boston. Paper $1.50; cloth\n\nThe fifty-fourth volume of the American Annual of Photography 1940 has been issued. It is worthy of its name. There are abundant illustrations, 96 pages in one group, and the articles throughout the book being profusely pictured.\n\nThe opening shot is \"Photography Goes Forward \u2014 A Review of a Decade of Progress,\" by Glenn E. Matthews. In twenty pages, the writer makes interesting reading for the seeker after the truth of today or for the man who is studying history a hundred years hence.\n\"Much of photography's growth, especially during the last quarter-century, can be traced to research. Progress has been rapid, especially during the past ten years, which have been characterized by one authority as the panchromatic era. It has also been said that we are at the threshold of an age of color. Coursin Black talks on \"Photographic Permanence.\" One paragraph catches our eye: \"But though there is much similarity between photography and painting, there is dissimilarity as well. Ours is a split-second art throbbing with the fast tempo of now, endowing in black-and-white imageries the imaginative fires of the camera creator. Photography has a spontaneity that is lacking in painting; an impetuosity that sweeps aside the cobwebs of premeditation. Yet, though we make our picture in a fraction of a second, its artistic quality...\"\nThe art of photography should not be inferior to any other art, but its mannerisms and rules should be free of the restrictions imposed by slower and less spontaneous arts. We are developing our own techniques and adapting them to speedy necessities.\n\nContributors to it include Roland F. Beers, William S. Davis, J. M. Stofan, Laurence Dutton, J. H. Stellwagen, E. C. Dymond, Honess Lee, Henry A. Fowler, Lloyd E. Varden, Alfred A. Monner, Hans A. Eriksen, Leo A. Leigh, Willard D. Morgan, Arthur Hammond, T. A. Rogers, and B. L. Robertson, Charles W. Seager, J. G. Pratt, George F. Moss, E. Borg, and Frank R. Fraprie.\n\n\"Who's Who in Pictorial Photography 1938-39\" occupies thirty pages of small type and provides a considerable amount of information. In 1938-39, there were 92 exhibitions, with 13,746 exhibitors.\nThe number of prints hung: 25,189. Average number of prints per exhibitor: 1.832. Actual number of exhibitors: 4,832. Number hung in one show: 2,556. There are 750 camera clubs listed.\n\nFaster and Better 8mm Equipment\n(Continued from Page U5h)\n\nThe same camera, loaded with either of the new films, can be used successfully with the lens stopped down to f/4. Where, with the slower film, an aperture of f/2 might be needed, the man with an f/3.5 lens can now load his camera with the new film and make pictures successfully.\n\nThis means that less light \u2013 fewer lamps and smaller ones \u2013 can be used for interior picture making. It means that exterior scenes can be filmed under poorer illumination.\n\nBetter, cheaper pictures. And if one has ample illumination, either artificial or natural, it is now possible to stop down and get better ones.\nThe depth and definition of the new 8mm films, instead of using the lens more nearly wide open, significantly enhance the flexibility of 8mm camera work. Applicable to both interior and exterior shooting, their most striking use will naturally be in interior filming. The wide-angle lens will prove incredibly useful, enabling long-shots in rooms too small for such angles with the normal lens, and allowing for closer angles to be filmed more conveniently and in less space than before. The faster film - either type - permits the use of fewer and smaller lighting units. Alternatively, it allows illuminating larger areas with the equipment already used for interior work on the slower film, and stopping down for better definition in ordinary shots.\nThe two developments together result in better pictures more easily obtained. The responsible manufacturers for these improvements in 8mm moviemaking should be highly congratulated.\n\nThe Professional Touch\nto Amateur Movies\n\nBesbee is the only house in America supplying such a wide variety of accessories for completing your personal movies. Among these are Title Makers and Title Letter Sets for \"professionalizing\" your films. The Effecto-graph permits framing your pictures in 16 different effects. The Ediscope facilitates quick and easy film editing. Additionally, a host of simple-to-operate items is available.\n\nYour pictures no longer require verbal explanation. They no longer need to be ordinary. Besbee makes them dramatic, exciting, professional.\nBesbee Universal Title Maker - for all cameras. $50\nBesbee Stick-on Title Letters\nBesbee Pro-Trick Title Frame\nBesbee Effectograph Framing\nBesbee Ediscope - a complete film editing system. $6.50\nBesbee Reel Clips; a practical device to keep film from unwinding, 8mm. 75c doz.\nBesbee accessories are made to fit all existing cameras. American made.\nWrite for illustrated booklet, \"Tell It With Titles\u201d - Dept. LW.\nBESBEE PRODUCTS CORP., TRENTON, N.J.\nEastern Headquarters for THE 'sjjijl CAMERAMEN\n5^HNlCl*NS ;iu\u00a3 HOWELL \u2022 MITCHELL\nstudio S. Cutting room equipment\nOctober, 1939 \u2022 American Cinematographer 473\nMaking Photographic Record of American West Indies Exports of American Films Building Novel Projection Show a Decrease for 1939\nAlexander Alland, the photographer who did such a splendid job with Felix\nRiesenberg is in St. Thomas, Virgin Islands, working on the book \"Portrait of New York\" (Macmillan) with Jacques Davidson, photographer and son of Jo Davidson. Their objective is to create a comprehensive photographic record of the Virgin Islands and the rest of the West Indies, gathering as much authentic data as possible, and hoping their work will facilitate a closer relationship between the United States and her colonies. They plan to remain on each location as long as necessary to gather sufficient material. Equipped with five cameras - Linhoff, Graflex, Contax, Bell and Howell movie camera, and a Rolleiflex - they have a diversified set of lenses to handle any photographic situation. Camera enthusiasts would be interested to know that Mr. Alland has designed a completely equipped portable darkroom.\nThe first six months of 1939 saw a decrease of 8,070,745 linear feet in American exports of motion picture films, both negative and positive, compared to the same period in 1938. Standard motion picture cameras, or those of 35 M.M. gauge, experienced a decrease in exports during this period. In contrast, 72 such cameras, worth $22,864, were exported compared to 120 cameras, valued at $67,920 during the first six months of 1938. Sub-standard silent motion picture projectors totaled 9,509, valued at $220,845, while sub-standard sound projectors, listed for the first time this year, totaled 915 with a value of $133,271. Total exports of both silent and sound projectors amounted to:\n\n9,509 silent projectors, valued at $220,845\n915 sound projectors, valued at $133,271\n-----------------------------------------------\n$354,116\nSub-standard gauge issues during the first six months of 1938 totaled 12,347. Camera exports for January to June were 10,484, valued at $282,136, compared to 15,908 cameras, valued at $455,298, during the same period in 1938.\n\nLanders 6c Trissel, Inc.\nRentals - Service:\nMotion Picture Cameras - Blimps - Dollies - Camera Crane and All Accessories\nPhone: 6313 Sunset Boulevard (near Vine Street), Hollywood, California\n\nLanders HE-1311\nTrissel Film Developing Machinery\n35mm and 16mm\n\nA New Driving Principle\nSIMPLICITY OF DESIGN\u2014ECONOMY OF OPERATION\n\nAll models complete with TEMPERATURE CONTROL FOR DEVELOPER and DEVELOPER AGITATION UNITS\nNO SPROCKETS\u2014NO PRECISION MAINTENANCE\nHandles for Positive and Negative Stock\nCONSTANT SPEED\u2014PERFECT CONTROL\u2014GREAT FLEXIBILITY\n\nMachines may be leased.\nFonda Machinery Company.\n8928 Santa Monica Blvd., Los Angeles, CA\nCable Address \u201cFonda\u201d\nfor arranging the reels to be projected for an evening's program.\nThe pilot lights make it unnecessary to switch on the room lights between reels, and the four double outlets provide six points at which not only your own movie and slide projectors may be connected, but also any that your friends may bring to maintain film standards with your own equipment doesn't take.\nThe master switch eliminates all risk of going off and leaving your projector circuits \"hot\"; having the pilot lights in this circuit gives a very good check as to whether the line to the projectors is on or off.\nFinally, comes the matter of cost.\nWhere a commercially made projector stand runs into a matter of anything\nFrom fifteen or twenty dollars up, mine cost about four dollars. Lumber prices vary in different districts, but my lumber cost less than $3, and the electrical equipment about $1. The only other cost was an afternoon of good exercise with saw and hammer, and a thumb that gave evidence I couldn't always hit the nail on the head!\n\nSuccessful...\n\nColor Movies\n>**w**N***v** taken with\nGOERZ KINO-HYPAR LENSES\non Kodachrome, Dufaycolor and other color films.\n\nThe high chromatic correction of these lenses will yield results which will be a revelation to you and your friends.\n\nClear-cut images, undistorted, of microscopic definition and wonderful, crisp brilliance.\n\nFocal lengths 15 mm. to 100 mm \u2014 can be fitted in suitable focusing mounts to Amateur and Professional Movie Cameras.\n\nGOERZ REFLEX FOCUSER\n\u2014 Patented \u2014\nA boon to 16 mm. Movie Camera\n\"Eliminates parallax between finder and lens, provides full-size ground-glass image magnified 10 times. Adaptable to lenses 3\" and up. Also useful as extension tube for shorter focus lenses for close-ups. Extensively used in shooting surgical operations, small animal life, etc.\n\nDepartment AC-10, C.P. Goerz American Optical Co.\nAmerican Lens\nNew York, N.Y.\nMakers Since 1899\n\n\"Densitometry and Its Application\" (Continued from Page U69)\n\n2. The Balanced Wedge Photometer.\nThe Eastman Densitometer is of the wedge comparison type where the density to be determined is compared, by means of a photometric field, with a previously calibrated wedge. A schematic diagram of the instrument is shown in Figure 3. Light from the single source, A, is reflected by mirrors B and D through a ground glass at E onto the calibrated wedge, F, and the unknown density, G. The difference in density between the two areas is measured and recorded.\"\nA sheet of white optical glass at F reflects a small portion downward to mirror G. The remainder of the light passes through F, where it is lost. The illumination on mirror G is the comparison beam. From the same light source, a beam passes through wedge W and opal glass H, entering through the small opening in mirror G at its center where the silver coating has been removed in a circle with a 20 mil diameter. This mirror, illuminated by the comparison beam with a small concentric spot of transmitted light in the center, is the photometric field viewed through eyepiece J. The lamp for this densitometer is the Mazda No. 1134, a double contact base, 6-8 volt, RP-11 bulb, operated at 3.9 amperes through a transformer. The lamp should be positioned correctly.\nThe filmament is positioned so that its plane is parallel to the wedge. The wedge in this instrument is a photographic one, consisting of a developed plate with a density range from 0.0 to 3.0 in about 315 degrees of its circumference. The wedge is pivoted in its center, allowing it to be rotated freely. When no film is in place over the opal glass H, a density of 3.0 is required in the wedge immediately under H to establish a brightness balance between the two parts of the photometric field. Any density inserted in the beam can be measured by rotating enough of the wedge density to re-establish the brightness balance between the two fields, resulting in a constant field brightness at the balance point. When a density of 3.0 is in the test field, all of the wedge density would be removed, i.e., to a density of 0.0.\nThe intensity of 0.0 in order to balance the photometric field. As the two fields are supplied simultaneously from the same lamp, variations in the lamp current are of no consequence. This cancellation effect is true of the polarization type as well, the two fields of which are normally illuminated by the same lamp. Although the Eastman Densitometer has been described fully by Capstaff and Purdy*, it is worthwhile making a short review here of the optical principles involved in the photometric field due to their bearing on the instrument's performance. In Figure 4 is shown a diagram of the optical head. The comparison beam entering from the right is reflected downward by the optical glass F to the mirror G. The opening in the mirror will reflect a very small portion of the light as compared with the silvered surface. If now a mirror is inserted in the comparison beam path at the position H, the light from the test object will be compared with the light reflected from the standard at the photocell. The light from the test object will be modulated by the chopper K, and the resulting voltage will be amplified and recorded. The photocell L is a photoconductive cell, which changes its resistance in proportion to the intensity of the light falling upon it. The electrical circuit is arranged so that the voltage developed across the cell is proportional to the logarithm of the ratio of the light falling on the test object to that falling on the standard. This arrangement enables the instrument to measure the relative density of the test object, which is a measure of its optical density. The optical head is designed to give a uniform illumination of the test object, and the photocell is shielded from external light to prevent errors due to stray light. The instrument is capable of measuring densities in the range 0.01 to 3.5, with an accuracy of about 0.01 density unit. The photometric field is calibrated against a standard density plate, and the calibration is checked periodically to ensure its accuracy. The instrument is also provided with a means of measuring the illumination incident on the test object, which is important in applications where the illumination is not constant. The optical head is designed to give a uniform illumination of the test object, and the photocell is shielded from external light to prevent errors due to stray light. The instrument is capable of measuring densities in the range 0.01 to 3.5, with an accuracy of about 0.01 density unit. The photometric field is calibrated against a standard density plate, and the calibration is checked periodically to ensure its accuracy. The instrument is also provided with a means of measuring the illumination incident on the test object, which is important in applications where the illumination is not constant.\n[Fried Camera Co. Laboratory Equipment: 35MM and 16MM Continuous Sound and Picture Printers, Automatic Developing Machines, Light Testing Machines, Registration Step Printers, Bi-Pack Color Step Printers, Optical Printers. For details, write to FRIEDCAMCO, 6156 Santa Monica Boulevard, Hollywood, Calif. Camera Supply Company, Art Reeves, ISIS North Cehuenga Boulevard, Hollywood, Cable Address\u2014Cameras, CALIFORNIA. Efficient-Courteous Service: New and Used Equipment, Bought\u2014Sold\u2014Rented, Everything Photographic, Professional and Amateur, Motion Picture camera Supply-* 723 SEVENTH ave. NEW YORK, N.Y]\nPhotographers who prefer prints finished in the finest professional manner with a light texture throughout the photograph and a softened \"etching-edge\" between picture area and borders will be interested in the new texture screens and border mask announced by Agfa Ansco Corporation. The new Agfa texture screens are available in four types, each lending an attractive and distinctive appearance to the finished print. Three of the screens are interesting fabric textures, identified by the names Satin, Oxford, and Homespun, while the fourth is an unusual, irregular pattern named Ripple. The Texture Screens measure 8x10 inches in size and can be used for both black and white and color printing.\nContact and projection printing involve placing the screens in immediate contact with photographic paper during exposure. Special precautions have been taken in the preparation of these Screens to allow the use of the same contrast grade of photographic paper employed when prints are made without a Texture Screen.\n\nCarnival or circus scenes might fit well with Victor\u2019s \u201cBarnum & Bailey\u2019s Favorite March.\u201d Pastoral and wildlife recordings include \"Rustle of Spring,\" \u201cAfternoon of a Faun,\u201d \u201cEntrance of the Little Fauns,\u201d \u201cThe Swan,\u201d \u201cTo Spring,\u201d \u201cPeer Gynt,\u201d and many others.\n\nMountain scenics require lofty, even religious music, such as \u201cRock of Ages\u201d and \u201cLargo.\u201d A reel of sunsets in color might feature for background music \u2013 \u201cWhen Day Is Done,\u201d \u201cAt Sundown,\u201d \u201cPerfect Day,\u201d etc.\n\nTwo Ways to Fool \u2018Em.\nIn some instances, travelogs particularly, may require dialog in addition to music and sound effects to enlighten audiences. This can be introduced in two ways: through ad-libbing directly into a microphone connected to the amplifier, or by playing back the voice actually recorded on disc. The latter method is advantageous because if the dialog is recorded as a series of cuts, these can be table-played when synchronized to certain scenes in the film.\n\nWhen speaking into a microphone or playing a voice recording, the background music should always be significantly softened. As the dialog nears its end, the music should be brought back to its original volume.\n\nFor your audience's sake, remember always to soft-pedal your sound accompaniment rather than playing it loudly. Your film presentation will seem all the more effective as a result.\nThe fascination of setting your own films to music grows on you, making you wonder which presents the most work and fun \u2013 movie making itself or dubbing in sound. George Culbertson, whose sound synchronizing work is described in this article, has offered to answer any queries on sound from American Cinematographer readers. Make your questions specific and include a stamped, return addressed envelope for reply.\n\nForming Amateur Production Units\n\nThe Agfa border mask, designed for use with texture screens, is an 11 by 14 inch negative. The border mask provides a 7.2 by 9.3 inch field with an attractive etching-edge border.\nHome Movies Need Sound\n\nJudging recordings solely by title and builds a library which he taps each time he shoots a new film. Another spends his noon hours prowling about in phonograph record shops and his evenings listening particularly to recorded programs of local radio stations. Whenever he hears a tune that tickles his fancy, he checks title and recording with the station\u2019s musical director and makes an investment.\n\nBest suggestion of all perhaps is to invite your musically-minded friends to sit in on a preview of the film and offer tips on the best types of background music. Even at that, each person will probably offer different recommendations, for individual tastes and preferences are bound to vary.\n\nParades call for lively band music, with plenty of drum. You\u2019re sure of 8 Engaged 16 ReTOed 8\n\nGeo. W. Colburn Laboratory.\nSpecial Motion Picture Printing, 1197 Merchandise Mart, Chicago, Hollywood. Offers Quality Non-Halation Fine Grain Semi Ortho Film for clear and sharp pictures suitable for outdoor use. OK for cloudy days with f3.5 lens. Buy film by mail and save.\n\nHollywood Outdoor Film. Handling charge. Minimum 2 rolls at this low price. Includes machine processing, spooling, and mailing. Fits all 100 ft cameras, wound on 100' ft daylight loading spools. 1/3 cash with COD orders. California buyers include sales tax.\n\nHollywoodland Studios, South Gate Box 104, Pacific Laboratories, Complete 16mm Film Service. Machine Developing: Composite Prints, Duplicate Negatives, Sound Track, Editing, Titling, etc. Sound Recording: Direct on 16mm film or Acetate Discs. Sound Truck Available for Location. High Standard of Quality Assured by Sensitometry and Time and Temperature Control.\n1027 No. Highland, Hollywood, CA-HI-0226\n\nNow you have an ally! You have a man capable of discernment in the selection of a story. Theoretically, he is also a cinematographer. In a surprisingly short time, he will assimilate much of your knowledge.\n\nNot much should restrict your choice of story. Originals are best and safest. If you insist on borrowing from literature, take care that you do not infringe on someone\u2019s copyright.\n\nPicking a Play\nShould you decide to use a one or three-act play, first contact whichever publishing house holds the copyright. Such agencies often are extremely generous in their terms for the release of amateur production rights.\n\nWe still strongly advise against the use of royalty plays. Remember, they have been done already by professionals whose performances you cannot exactly replicate.\nhope to eclipse. Original material can be documentary. Your film can be kept local, possessing historical and educational interest. In selecting a story, keep in mind those considerations which will govern its magnitude. How well equipped are you? Do you have adequate lighting facilities for spacious interior shots? We submit that your first scenario picture should be a short, a reel in length. It will introduce you to most of the problems later to be met on a larger scale. Though the question of story taboos falls within the writer\u2019s province, both of you be reminded at all times that the film should provide constructive entertainment.\n\nUsed in every major studio, Movola film editing equipment. Illustrated literature on request. Movola Co. 1451 Gordon St., Hollywood, Calif. American Cinematographer, October 1939. Are your cast and crew adequately equipped for spacious interior shots? Does your cast handle easily? Your first scenario picture should be a short, introducing you to most of the problems you will encounter on a larger scale.\nEntertainment. Some subject matter is not only in poor taste but lacks entertainment value. We believe insanity and the morbid theme are among these. Either may constitute art; the subject is controversial. But with so much absorbing interest from which to draw, why risk attempting complexities bigger than you can handle?\n\nIf Comedy Be Simple\n\nStories with the accent on comedy, even light love stories, are amusing and safe experimental grounds. In these, avoid too complex situations involving too many people. For example, if the suitor must prove his worth to his ladylove's irascible, gouty, and skeptical papa, let the simplest comic aspects of the situation dominate your film. Keep the couple's affections discreetly in the background, perhaps highlighting them with humor.\n\nWhen you plan your more ambitious picture, line up dependable people.\nThis is your third preliminary. Your main concern will be your actors. If they are capable, do not worry if they are not photogenic. The writer or writer-director will have something to say about these. He may prefer people without previous dramatic experience; better results are often achieved with such folk. On the other hand, he may lead you directly to the local community theater. A fine source for talent, at any time.\n\nCasting to type is a good idea. Older people who enjoy playing are best choices for character parts, unless some young man or woman you know is adept at make-up and histrionics.\n\nEliminate cost hazard.\n\nDecide first what kinds of people you need, having in mind the part you are casting. You may be saddled, more or less, with willing ones without talent in a given direction. Details of production.\nMay be assigned to them. They will typically tackle their assignments with hearty enthusiasm. Let them seek locations, have charge of personal properties, dress the sets, handle the lights. They can be kept busy. As your company expands, so will the variety of your personnel increase. If necessary, double up on assignments. One of our feminine leads has been a script girl (a very important job); she also designs costumes and makes them. We're fortunate! She is good-looking and an excellent actress. It is comparatively easy to match personnel to production needs and inversely to make concessions for the sake of company morale.\n\nFaxon Dean Inc.\nCAMERAS FOR RENT\nBlimps-Dollies\n4516 Sunset Boulevard\nCooke Lenses\nHave long formed the spear-head of progress in cinematography by exceeding current demands and anticipating future requirements. Focal lengths for every need. Write for descriptive literature.\n\nBell & Howell Company\nExclusive World Distributors of Taylor-Hobson Cooke Cine Lenses\n1848 Larchmont Avenue, Chicago\nNew York: 30 Rockefeller Plaza\nHollywood: 716 N. LaBrea Ave.\nLondon: 13-14 Great Castle St.\n\nSo far we have spoken of the filming of a scenario picture with the assumption it might be the project of one lone amateur cinematographer. To omit mention of cooperative production by and among cinematography clubs would be withholding the very policy we wish most to encourage! Here, concentrated, cooperative effort aids in the elimination of one of the most formidable hazards confronting the amateur. Costs!\n\nThe annual production of a feature-length picture\nA lengthy scenario picture contributed by a club, subscribed to in part by every member, would significantly enhance amateur cinematography. Is there any reason, then, why every cinematographers\u2019 club should not admit writers, actors, artists, and carpenters to membership, in addition to movicam hobbyists?\n\nA community theater has refined the public's taste for better legitimate drama. A community cinematographers\u2019 club, similarly organized, can evoke greater public appreciation of good film fare.\n\nAn existing community cinematographers\u2019 club, showing pictures only on an individual basis, could, by vote, form a group for the production of more important pictures at stated periods. These periods could be every three months, six months, or annually.\n\nWhether the production unit is organized by a single individual or a club,\nA rigid adherence to a carefully planned production schedule is essential for me. This becomes most apparent once shooting begins. Rules and regulations, though confining, are absolutely necessary for the successful completion of a picture.\n\nIn a written communication to prospective members of a local production unit, the organizer expressed his boundless gratitude for the time and effort they had dedicated. He reminded them that, having signified their willingness to cooperate, he expected nothing but cooperation and the strict observance of approximately ten rules. These rules governed punctuality, responsibility, liability, and some isms.\n\nIf amateur cinematographers and those whose hobbies lie in related fields show an interest in these remarks, we will answer queries addressed to us.\nus,  care  of  this  publication,  to  the  best \nof  our  ability. \nFRED  HOEFNER \nCinema  Camera  Shop \nTrue  Ball  Tripod  Heads \n915  N.  La  Cienega,  Los  Angeles,  Calif. \nTelephone  CRestview  5-7092 \nOctober,  1939 \n\u2022  American  Cinematographer  477 \nDensitometry  and  Its \nApplication \n(Continued  from  Page  A75) \nlished  as  the  two  mirror  surfaces  would \nappear  to  be  practically  continuous.  Nat\u00ac \nurally  therefore,  the  surface  to  be  meas\u00ac \nured  should  be  diffuse.  Films  should  be \nplaced  under  the  head  with  the  emulsion \nside  up,  as  the  glossy  surface  of  the \nbase  would  appreciably  alter  the  amount \nof  light  in  the  mirror  opening.  A  cer\u00ac \ntain  amount  of  reflected  light  from  the \ncomparison  beam  would  be  added  to  the \ntransmitted  light.  To  establish  the  bal\u00ac \nance,  a  darker  portion  of  the  wedge \nwould  be  needed  so  that  the  resulting \ndensity  value  would  be  less.  The  fol\u00ac \nlowing  is  a  comparison  of  readings  ob\u00ac \nThis point has been discussed at length because discrepancies between readings in various laboratories have been due to one measurement being made with the film improperly positioned. The densitometers have been calibrated with the emulsion side of the film up toward the head. The zero setting of the instrument is adjusted by a knurled ring at the upper left side of the housing, which moves the lamp to and from the wedge. This movement naturally affects the amount of light in the measuring beam more than in the comparison one, as can be seen in Figure 3. When the wedge is installed, it is desirable that the lamp be away from the wedge, near the end of the adjustment, to avoid overheating of the wedge if the lamp is left on inadvertently.\nThe supplementary control over the lamp position is the amount of neutral density placed in the comparison beam at E, Figure 3. In addition to this neutral filter, there is a special light green filter at this point which serves to give a good color balance between the two fields by correcting for the difference caused by their dissimilar paths. Because the mirror surface is separated by a finite distance from the emulsion surface and further the protective cover of black paper on the bottom of the mirror has an opening of necessity larger than that in the mirror, it is not possible to measure correctly the density of half and quarter-width variable area sound track. A special mirror has been made available recently for this purpose, having an opening in the mirror only 0.012 inches in diameter.\nOne solution to the problem of low density values due to leak light around the track in the mirror is the use of a baffle made of shim stock with a 0.03 inch diameter aperture directly over the opal glass. When the track to be measured is placed over this, no light is allowed to leak around it. The apertures in the mirror and baffle must be carefully centered with respect to each other. This use of a baffle has been found satisfactory for half-width tracks (0.038 inches), but a smaller one for quarter-width tracks has been unsatisfactory.\nThe black paper mask protecting the mirror must be kept in good condition. Enlarging the opening in it affects accuracy. Wet film measurement causes mask deterioration, which can be prevented by covering the mask with a thin sheet of Kodaloid or Kodapak. Make the zero setting with the sheet in place. Failure to protect the mirror from moisture often results in cover glass separation, necessitating baseplate replacement.\n\nThe wedges in this instrument are individually calibrated from a series of master densities on positive film, which in turn were calibrated on an instrument whose operation is based on the inverse square law. This latter densitometer has been described by Capstaff and Greene. The intermediate points\nThe interpolated values on the scale are marked in 0.02 unit increments from 0.0 to 3.0. Due to its secondary nature, having been calibrated against a primary standard, the density values obtained from this instrument should be considered to have a tolerance of \u00b1 0.01 when in good condition and used by a skilled observer. Discrepancies of the same order may be found between results obtained by several observers.\n\nFOR SALE\nREBUILT SILENCED Bell & Howell with focusing shift-over and magnifier, three lenses, tripod, sunshade, finder, $1400.\nMotion Picture Camera Supply, Inc.\n723 Seventh Avenue, New York City\n_ _ Cable Address : Cinecamera\nThe world's largest variety of Studio and Laboratory equipment with latest improvements as used in Hollywood at tremendous savings. New and Used. Mitchell, Bell-Howell, Akeley, De Brie, Eyemo, animation.\nProcess cameras, lenses, color magazines, adaptors, lighting equipment, silencing blimps, dollies, printers, splicers, moviolas, motors, light-testers, gear boxes, synchronizers. Guaranteed optically and mechanically perfect. Send for bargain catalog.\n\nHollywood Camera Exchange\n1600 Cahuenga Blvd., Hollywood, Calif.\n_ Cable: Hocamex\n\nNew Precision Test Reel for Projection and Sound. Developed by prominent SMPE member. Combination visual, sound tests for all soundtrack adjustments. Indicates travel ghost, sidesway, picture jump, etc. Contains visual targets and constant level frequencies. W.E. Mirrophonic recording. Truly simplified, easily understood. Comparative value, $75.00. With full instructions, $29.50. 16mm Bell & Howell Studio Sound Camera. Like new, No. 859. Joseph Tilton, 920 S. Aiken Ave., Pittsburgh, Pa.\n\nThis text appears to be a list of camera equipment and their prices, along with contact information for purchasing them. There are no significant issues with the text that require extensive cleaning or translation. Therefore, I will not output any caveats, comments, or prefix/suffix. The text is provided as is.\nThese errors are increased by the deterioration of the instrument parts themselves. The condition of the instrument can be checked at any time by reading a series of densities over the calibrated range on the inverse square law densitometer.\n\nRecently, a variation of this transmission type densitometer has been marketed, primarily for use in the field of graphic arts. This instrument can be used for reflection measurements as well. To facilitate measurement of colored matrices and dyes or inks used for color separation printing, the eyepiece is equipped with yellow, magenta, and blue-green filters. The scanned area by this instrument for either transmission or reflection measurements is four millimeters in diameter. This combination densitometer has only limited application to the motion picture field.\nArthur Hardy and Fred Perrin: McGraw Hill Book Co., New York City\nJohn W. T. Walsh: D. Van Nostrand\nJ. G. Capstaff and Roy A. Purdy: Debrie Printer\n\nSacrifice\nMatipo-S 35mm. Sound and Picture Printer. 20 automatic light changes. Bought to make dupe negatives, but not used due to change in requirements. Like new. Price: $1,000.\n\nThe Pathescope Co. of America\n33 West 42nd St., New York City\n\nWe 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.\n\nAkley Camera, tripod, wide angle & telephoto lens, masks, iris, cases, etc. A complete outfit in \u201cA 1\u201d shape: $650.00. Write or wire Carl Benfield, LA Nora Theatre, Pampa, Texas.\n\nAkley Camera (like new) with gyro tripod, matched 2\" Zeiss F:2.7 lenses (one each)\n6 Bausch & Lomb Tessar lens F:4.5 with finder lens, one 12\" Dallmeyer Telephoto with finder lens, five magazines, carrying eases. Price: Bass Camera Company - 170 W. Madison St., Chicago, Illinois - Dept. D\n\nWanted\nWe pay cash for everything photo-graphic. Write us today. Hollywood Camera Exchange. 1600 Cahuenga Blvd., Hollywood.\n\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\n\nClassified Advertising\n\nAmerican Cinematographer \u2022 October, 1939\n\nBuy Now on Easy Terms\nGet liberal allowance on your old projector\n\n\u2022 When you bought your present movie projector, did you say to yourself, \"I know Filmo is the best, I\u2019d like to own one, but I just can\u2019t afford it now\"? If you did, here is the news you\u2019ve been waiting for.\nFor $139, after trading in your current projector, you can obtain the new Filmo-Master, a Bell & Howell projector with proven precision, boasting many luxe features previously only found in pricier Filmos. Features such as: complete gear drive (no belts), speedy power rewind, new Magnilite condenser for enhanced picture brilliance, and many others, contributing to Filmo-Master's added power and convenience.\n\nSee the new Filmo-Master at your dealer. Alternatively, write for details. Bell & Howell Company, Chicago; New York; Hollywood; London. Established 1907.\n\n1. FILMO \"DIPLOMAT\" (16 mm.): This model includes all the Filmo-Master features, along with lamp intensity adjustment, illuminated voltmeter, radio interference eliminator, and a cabinet-type base where line and lamp switches, tilt control, voltmeter, and pilot light are conveniently grouped.\nWith case, only $198.\n2. FILMO \"SHOWMASTER\"\u2014 (16 mm.) - provides uninterrupted hour-long programs. Has 750-watt, 100-volt lamp, variable resistance unit and voltmeter to ensure correct lamp voltage, fast 2-inch F 1.6 lens, Magnilite condenser, swift power rewind, and radio interference eliminator. Recently reduced to $215.\n3. FILMO 8 mm. PROJECTOR provides 400- or 500-watt illumination for brilliant pictures as wide as 6 feet! Flicker is banished by 11-to-1 shutter movement. Rock-steadiness is assured by camera-matched film registration system. Is fully gear-driven. Capacity: 200 feet. With case ... $118.\n\nFILMO-Master Has All These Refinements\nCompletely gear-driven \u2014 no spring belts \u2022 Gear-driven speedy power rewind \u2022 Powerful 750-watt lamp, controlled by separate lamp switch \u2022 New Magnilite condenser for 32% brighter images.\npictures: Fast 2-inch F 1.6 lens in two-speed focusing mount \u2022 Instant lens interchangeability \u2022 Pilot light \u2022 Two-way tilt \u2022 Reverse switch \u2022 Still-picture clutch \u2022 \"Floating film\" protection \u00a9 Metered lubrication Capacity: 400-foot 16 mm. reels\nBell & Howell Company\nac 10-39 1848 Larchmont Ave., Chicago, Ill. Send free booklet describing Filmo ( ) 16 mm. Projectors for home and auditorium use; ( ) 8 mm. Projector.\n\nThe Mitchell Studio Camera\nIs constructed to meet studio requirements for a silent camera, light in weight and easy to operate. No Blimp Required. No glass in front of Lens.\n\nThe Camera for Modern Studio Technique\nMitchell Camera Corporation\n665 North Robertson Boulevard\nWest Hollywood, CA\nCable Addresses \"MITCAMCO\" Phone Oxford |05,\nAgencies\nBell & Howell, Ltd., London, England\nCLaud C. Carter, Sydney, Australia\nD. Nagase & Co., Ltd., Osaka, Japan\nMotion Picture Camera Supply Co., New York City\nFazalbhoy, Ltd., Bombay, India\nH. Nassibian, Cairo, Eqypt\nNovember 19--\nForeign 35c\nPublished in Hollywood by\nAmerican Society of Cinematographers\nRine Grain Films Make Strong Advance\nBlaisdell\nMaking Modern Matte-Shots\nHaskin\nPhotoelectric Exposure\nNorwood\nBringing Hawaii Home\nSprungman\nEditing and Splicing Tips\nSherlock\nEducating 300 Million with 16 mm.\nPatel\nDensitometry and the Laboratory\nHuse and Chambers\nExposures for Beginners\nCadarette\nSeltzer and Basil\nProducing Art Reeves in Mexico\nBlaisdell\nAlton Returns to Hollywood\nBlaisdell's wide exposure latitude gives you an added margin of safety when shooting. Its long scale gradation produces a beautiful screen result.\nInsure the quality of your next production by relying on Rine Grain Films.\nThe established excellence of Du Pont Superior Pan. Du Pont Film Manufacturing Corporation INCORPORATED 9 Rockefeller Plaza Smith & Aller, LTD. New York - N.Y. 6656 Santa Monica Blvd. Plant Parlin, N.J. Hollywood, California\n\nBetter Thin QS for Better Living? through Chemistry\n\nNew viewfinder turret serves with offset turret, as shown above, and with compact camera turret, as shown below.\n\n1. New Viewfinder Turret\nEnables Eyemo user to select matching viewfinder objective unit with same speed he picks lens. Convenient. Fast. Accurate.\n\nWhen the shots come fast and various, and you must get the picture... that's when you most appreciate the versatile Eyemo. For it's instantly ready to meet the emergency.\n\nWhat will you have? A swift change of lenses? ... conversion from 100-foot film capacity to 200- or 400-foot magazines? ... a tripod.\nMount or choose a light, easy-to-handle hand camera?... a change from electric to spring or hand drive?... a silent camera or a hookup for sound?... slow motion or silent or sound speeds? Whatever the demand, Eyemo meets it. Send the coupon now and get complete details on this unprecedented portable camera. Do it today. Bell & Howell Company, 1848 Larchmont Ave., Chicago; 30 Rockefeller Plaza, New York; 716 North LaBrea Avenue, Hollywood; 13-14 Great Castle St., London. Established 1907.\n\nEyemo can be equipped with many accessories for studio and location work, or it can be stripped down to a light, compact, spring-driven hand camera.\n\nPrecision-made. By mail.\nCoupon.\nConvert Your Eyemo.\nEyemo owners may convert their Eyemos to include the following new features at very moderate cost. Write for details.\n1. New \"positive\" viewfinder\n2. New viewfinder turret.\n3. New flat base- 2.2 in. square\n4. Locking screws to lock each lens in focus\n5. Turret lock for Eyemos with offset turret\n6. Detachable cord for electric-drive models\n\nBell & Howell Company\n1848 Larchmont Ave., Chicago, Ill.\nSend details about new, improved Eyemos. I own Eyemo Serial No. [redacted]\nAm interested in converting it to include [redacted]\n\n1. New \"Positive\" Viewfinder\nMagnifies rather than masks with any lens, fills entire finder aperture with large-size upright image, eliminates eye parallax.\nNovember, 1939\n\nAmerican Cinematographer\nA Technical and Educational Publication on Motion Picture Photography.\nPublished monthly by the American Society of Cinematographers, Inc.\n1782 North Orange Drive, Hollywood (Los Angeles), California\nJohn Arnold, President AL Giles, Secretary-Treasurer\nNovember 1939\n\nContents\n\nFine Grain films make strong advance. by George Blaisdell\nSound quality improvements obtained with fine grain films. by Dr. Charles Daily\nJohn Alton returns to Hollywood from abroad.\nUnlike 1914, Kodak now gets supplies at home.\nMaking modern matte-shots. by Byron Haskin, A.S.C.\nPacific Laboratories announce complete 16mm. service.\nStudying photoelectric exposure metering. by Captain Don Norwood, Ret., USA.\nBringing Hawaii home. by Ormal I. Sprungman\nEastman issuing two classy camera models.\nHere are tips on editing and splicing. by James A. Sherlock\nEducating 300,000,000 with 16mm. movies. by A. J. Patel, F.R.P.S., F.R.S.A.\nDensitometry and its application to motion picture laboratory practice. by Emery Huse and Gordon Chambers\nSome notes on exposures for beginners. by Claude W. Cadarette\nSeltzer and Basil direct and photograph for WPA. Making newsreel of family Thanksgiving.\nC.J. Hubbell\nAgfa Ansco providing new greeting card equipment.\nArt Reeves in Mexico looks over film works.\nGeorge Blaisdell\n\nThe big camera is rolling on a Paramount set, where Bing Crosby is costarring in \u201cRoad to Singapore,\u201d with Bob Hope and Dorothy Lamour. Bing is shown at the left. Others, from left to right, are Director Victor Schertzinger, Don Gallaher (kneeling), dialogue director; Chief Cameraman William Mellor, A.S.C.; Neil Breckner, second cameraman; and Claire Bencke, script clerk.\n\nEditor: George Blaisdell\nWashington\nStaff Correspondent: Reed N. Haythorne, A.S.C.\nTechnical Editor: Emeryi Huse, A.S.C.\nAdvisory Editorial Board: [blank]\nVictor Milner, A.S.C.\nJames Van Trees, A.S.C.\nFred W. Jackman, A.S.C.\nFarciot Edouart, A.S.C.\nFred Gage, A.S.C.\nDr. L. A. Jones, A.S.C.\nDr. Herbert Meyer, A.S.C.\nCirculation Manager: L. F. Graham\nNew York Representative: S. R. Cowan, 19 East 47th Street, New York. Phone: Plaza 3-0483.\nForeign Representative: Georges Benoit, 100 Allee Franklin, Pavillions-sous-Bois, Seine, France. Telephone: LeRaincy 13-19.\nAustralian Representative: McGill\u2019s, 179 Elizabeth Street, Melbourne, Australian and New Zealand Agents.\n\nNeither the American Cinematographer nor the American Society of Cinematographers is responsible for statements made by authors.\n\nEstablished 1920. Advertising Rates on application. Subscription: United States $2.50, Foreign $3.50 a year. Single copies, 25c; back numbers, 30 cents; foreign single copies, 7 * *\u2018-ov.\n[484 American Cinematographer \u2022 November, 1939]\n\nStars Without Temperament\n\nStarring day in and day out with unchanging dependability, SUPREME and ULTRA SPEED PAN are doing great work behind the lens.\n\nSUPREME's high speed is all the more amazing in view of its outstanding fine-grain qualities.\n\nULTRA SPEED PAN is not surpassed when extreme speed is the need \u2014 as news reel camera men well know!\n\nThese two Agfa stars, under the toughest conditions, will turn in better work than you\u2019ve hoped for. Try them today!\n\nMade by Agfa Ansco Corporation in Binghamton, New York, USA.\nAccording to reports to the Society of Motion Picture Engineers at their Fall convention in New York, October 16-19, important discoveries have been made recently in the realm of fine grain positive films by Hollywood technicians. One of the reports was made by Dr. John G. Frayne of ERPI, chairman of the fine grain film committee, composed of representatives from Electrical Research Products Inc. and several Western Electric recording licensees, which has been functioning since February of this year and signed by ten others representing those licensees. Dr. Charles R. Daily of Paramount Sound also reported. (New York, November 1939, American Cinematographer 485)\nThe committee for Dr. Frayne's improvement through fine grain films consists of L.A. Aicholtz from Universal, F.C. Albin from Goldwyn, G.M. Best from Warner Brothers, G.A. Chambers from Eastman Kodak, C.R. Daily from Paramount, John K. Hilliard from MGM, W.W. Lindsey from Selznick International, H.W. Moyse from Du Pont Film, Elmer Raguse from Hal Roach, and S.J. Twining from Columbia. Notably, while these committees aimed for improvement through fine grain films in the interest of sound, they discovered that the new film reduces screen graininess, fuzziness, blur, and background distortion to a minimum. It also provides a warmth and richness not previously known in films, resulting in more perfect image definition and a photographic effect described as the \"luster of old ivory.\"\n\nImproved Definition (Entire Text)\nThe report of Dr. Frayne and his committee stated that \"The improvements from using fine grain film in variable density recording are not limited to increased signal to noise ratio, but include other factors such as improved image definition, which can be attributed to reduced flare in the emulsion. This results in a cleanness of all high frequency tones not previously achievable, and is also accompanied by a moderate increase in the high frequency output in such films as compared to standard films. A very low degree of distortion is indicated when measured by intermodulation or harmonic analysis on fine grain prints made from fine grain negatives, especially if ultra-violet light is used in exposing the print stock. This low distortion is undoubtedly partially responsible for the pleasing quality of recordings made on fine grain films.\"\nTo obtain satisfactory results with current fine grain stocks, dynamic methods are recommended for determination of optimum processing conditions as misleading information may result from the application of classical sensitometry to these films. The use of these films under laboratory conditions generally calls for greater care in processing and handling in order to avoid noise from dirt and abrasions. Such noise is more evident on these films due to the lack of masking by the lower background noise inherent in these stocks. One of the chief problems presented with the use of these films has been that of obtaining sufficiently low negative gamma and at the same time obtaining the required negative density. This has required the development of suitable negative baths. While the slow development of these baths is essential for obtaining the required negative density, rapid development is necessary to prevent excessive negative gamma. The use of these films also requires careful control of agitation and temperature during development to prevent uneven development and grain growth. Additionally, the storage and handling of these films prior to use must be carefully controlled to prevent fogging and other forms of deterioration.\nThe speed of these films may still be considered a problem, but improvements in light sources and optics indicate that present or future slower fine grain stocks can be exposed without great difficulty. Despite the challenges in introducing fine grain film in the sound recording field, the improvement in signal to noise and general quality mean their inevitable introduction on a wide scale into the motion picture industry. Dr. Frayne, in his report, states that the MGM studio, after a thorough investigation of various fine grain emulsions, has adopted the type 222 stock furnished by the DuPont Company for all original negative and print material, as well as for the re-recorded negative. Several pictures have been released using this stock.\nTests at Goldwyn: Considerable tests were conducted at Samuel Goldwyn Studios on various experimental emulsions offered by DuPont and the Eastman Kodak Company, as well as on some standard fine grain emulsions from both suppliers. Re-recording tests were limited to original negatives and re-recording prints of scoring, and some of this material has been used in pictures that have already been released. For some time, all re-recording prints at Paramount have been made on the 222 stock from a normal sound negative. One complete picture was re-recorded to fine grain release negative with a limited number of release movie tone prints also being printed on the 222.\nThe Universal Studio conducted scoring and dialogue tests on the 1365 stock provided by Eastman Company, using the same material for prints. Dr. Frayne discusses Erpi's investigation into the sensitometric properties and signal-to-noise relationships of various fine grain emulsions for potential use in the variable density recording program.\n\nDr. Frayne mentions the high pressure mercury arc, which previously produced an enlargement of a motion picture frame on positive film, is now used. The following images illustrate the difference:\n\n[Image of motion picture frame enlargement on positive film (left)]\n[Image of print made on fine grain positive using the same negative (right)]\nDr. Charles R. Daily of the Paramount Sound Department concluded at the convention:\n\n\"The commercial application of fine grain stocks for release sound and picture printing, for release sound negatives, and for dubbing prints has resulted in:\n\n'A material improvement in picture detail and sound quality. The volume range has been significantly increased, and the disturbing effects of modulated film noise reduced.'\"\n\nParamount introduced the new stock with the following production:\nThe stock labeled \"Geronimo!\" was DuPont 222. A sufficient number of prints had been made to supply key cities. In the final third of October, the order was put into effect at Paramount to use fine grain positive prints on the \"Victor Herbert\" production. This is believed to be a stronger picture due to the great amount of music in it, providing a better opportunity for the fine grain positive to show its capabilities.\n\nLab and Sound Department Collaboration\nChief Wilkinson of the laboratory department at Paramount had had \"something on his chest\" for a long time. He worked on indefinite specifications until they became definite, at which point he called in the sound department. The latter department went to work.\nDoctor Daily, the optical and light technician in the sound section, was delegated by the head of the department to work with the laboratory on exposing and developing test material. Doctor Daily created the air-cooled lamp while the sound department ensured sufficient exposure. The laboratory developed low contrast developers to bring gamma levels down to the necessary amounts.\n\nThe combination of sound and laboratory efforts led to determination of proper gamma and densities. The laboratory also established exposure and development techniques for making dubbing and release prints.\n\nThe camera department welcomed the changes resulting from the collaboration between laboratory, sound, and DuPont. Henry Sharp, A.S.C., was responsible for putting the picture on negative.\nI don't think there's any doubt the cameramen will welcome the new film, declared Roy Hunter, head of the camera department. \"Heretofore, we've had many improvements on the negative side, but the positive was not so fortunate. In fact, I've heard it said in the department that things could be done with the negative which could not be accomplished with the positive \u2014 that much better definition rode in the negative than could be replanted in the positive.\"\n\nPositive matches negative.\n\nSpeaking of the new positive fine grain film, Loren Ryder said that great strides have been made in recent years in super-sensitive negative. \"But the full value of these negatives was never realized,\" he went on, \"because a matching positive film stock had not been perfected. Now we have the positive fine grain film, and it has been engineered so as to take full advantage of the negatives.\"\nApproximately 60 percent of the perfection of fine grain negative film, used only for movie photography, was lost when placing the images on old type positive film. Theatre audiences see the positive. Under the new system, utilizing fine grain positive film and process for its development, theatre patrons see exactly what the camera on the set sees\u2014and hears.\n\nThe reporter suggested that while it seemed to him the technicians believed the larger success of the new development was on the side of sound, nevertheless, it was his belief the public's opinion would be more important from a photographic angle.\n\nMinimizes glare.\n\nThe sound department head smiled. \"The physics of sound and light follow different principles.\"\nHe said the same laws apply to science and motion pictures. In many ways, things that interfere with one interfere with the other. It's possible that the public is more interested in photography than sound, having been trained in one and not the other. As a result, they may be quicker to detect advancements in photography.\n\nThis new film with finer grain and greater resolving power provides a higher degree of clarity of vision and hearing. Pictorially, it creates the same effect on the vision as wearing dark glasses in a brilliantly sunlit spot. It gives brilliance but minimizes glare.\n\nSound is clearer than ever before, free from harshness and disturbing scratchiness. Actors' voices speak with soft mellowness.\nThe screen and all accompanying mechanical noises are silent. If the audience is no longer conscious of reproduced sounds, the advance is distinctly on the side of nature, of naturalness, of illusion. If this is really true, then in fact we may be approaching the staging of an ideal motion picture story.\n\n\"The new film has the power to give greater clarity. If it were there by itself, it would make objects appear hard and sharp and unpleasant, or over-contrasty as defined by the photographer; but the molecular arrangement of the silver granules is so established as to effect a softening of the picture to the proper balance of contrast.\n\n\"Never before have the two phenomena been understood and utilized to the degree that exists in this new film.\n\n\"In 'Geronimo!' is the forerunner of a change which is bound to bring about\"\nA complete revision of all positive films used involves the change in printing that employs the use of ultra-violet mercury light, not previously used for printing positives. RCA has taken advantage of some improvements available from ultra-violet light in its high-fidelity recording. The engineering of this process starts where RCA left off and utilized it for a newly evolved fine grain film for picture as well as sound. A mercury light is used in this process to obtain greater rays of light further into the ultra-violet spectrum than ever used heretofore in making sound motion pictures.\n\nStatement of Chief Wilkinson: From a pictorial standpoint, when we speak of a fine grain print, most of us still visualize...\nRealize a quality somewhat similar to the fine grain master positives now in general use \u2013 low in contrast, with great smoothness and splendid reproduction of detail, but entirely lacking in screen brilliance and rich shadow densities that make for satisfactory visual quality.\n\nTo obtain the desired brilliance and retain the benefits of fine grain, it was necessary to go to a stock with inherently higher contrast. An extensive study of print exposure, gamma characteristics, and development methods resulted in satisfactory screen quality. The specifications were noted and the plus and minus tolerances defined.\n\nThese established specifications constituted, for the sound group, a definite and predetermined end point fixed by picture requirements.\n\nIt was necessary to work in reverse, backward through the various steps in processing and exposure, to establish the optimal conditions for achieving the desired result.\nDr. Charles Daily, in collaboration with the laboratory sensitometric group, undertook the task of defining proper sound specifications for fine grain film. Numerous tests were processed and measured, frequency characteristics analyzed, dynamic measurements made, distortion charted, and optimum exposure and processing specifications were defined. The final gamma was 2.50, compared to the normal black and white film.\n\nIn an effort to clarify the work in the field of fine grain film, the writer called on Hollis W. Moyse of the DuPont Company. Mr. Moyse, who has been active in fine grain matters, was asked if he would give a brief outline of the steps being taken by those in the industry most interested in fine grain films.\n\n\"Why, yes, I\u2019ll try,\" he said. \"Efforts to reduce surface or ground noise in fine grain films are ongoing.\"\nIn sound-on-film work, sound engineers have been dealing with noise for a number of years. The noise originates from the dirt and abrasions the film picks up during processing and handling, and from the granularity of the silver deposit that forms the image.\n\nThe first attempts to reduce the effect of such factors were along electrical lines. Light valves were biased electrically so that the average amount of light reaching the negative increased with signal strength.\n\nWith this system, when there is no signal, the full effect of noise reduction applies and the negative has little density. This results in a dark print that projects quietly, as the electrical output to the speakers decreases as the prints get darker. As the signal strength from the microphones increases, the average illumination reaching the negative also increases.\nThe increasing negative increases, resulting in a lighter and lighter print. This permits more and more of the undesirable noise to be heard. At full modulation of the light valve, there is the same noise output as though no electrical ground noise reduction has been applied.\n\nLimitations of this background noise variation cause a disturbing effect, easily recognized. Additionally, the noise intermodulates with the signal and detracts from its cleanliness and naturalness. Thus, there are definite limitations to the benefits that can be derived from present electrical methods of eliminating noise.\n\nAnother approach to noise reduction is to take it out of the film itself. Dirt and abrasions-related noise have been reduced to a very low level by careful processing and handling.\nThe granularity of the silver image in every film stage has not been open to attack until recently, although it has been recognized for some time as a source of considerable importance. The restriction on exposure was partially lifted by the recently developed high intensity mercury arc. With its advent, fine-grained films, designed for sound purposes, became available to the trade.\n\nPhotographic Results\nThe first noise measurements on the new film type indicated a substantial reduction in ground noise, and listening tests indicated an even greater improvement. The advantage over conventional recording materials was so marked that no time was lost in getting the film into production use for original negatives and dubbing prints. The benefits in the final product from the use of the fine-grained film were significant.\nThe application of the new type of film has been carried through the four steps, bringing its full benefit to the theater audience. In addition to the obvious improvement in sound quality, the use of fine-grained film as a release positive has resulted in a substantial improvement in picture quality. The decrease in graininess of the picture results in a smoothness of texture that is most pleasing, and the general photographic quality is definitely enhanced.\n\nBerndt-Maurer Sync Motor Announced for Cine Special\n\nA new synchronous motor driving unit for the Cine-Kodak Special is announced this month by the Berndt-Maurer Corporation of New York. With it, the camera is held to an unvarying 24-frames-per-second \u2014 the standard sound-recording speed.\nThe new motor unit includes a special sub-base interposed between the camera and the tripod, carrying the motor and camera in rigid alignment. A special coupling joins the motor to the camera's driving shaft. The camera is mounted on this unit by means of a conventional tripod screw and may be instantly removed for ordinary use. Prices for the recording service are said to compare favorably with the costs of first-class professional titling for silent pictures.\n\nJohn W. Boyle, A.S.C., reports safe arrival in Bagdad.\n\nLeaving Bagdad on September 18 and arriving safely.\nFormer President John W. Boyle, A.S.C. reached Hollywood in a month and a couple of days. After many months, he received a message from his society. John left New York on June 21 as a member of the Trans-Asia expedition with an itinerary that included Paris, France, Germany, Austria, Czechoslovakia, Romania, Turkey, and now Bagdad. He had just completed a 500-mile run across the Syrian desert.\n\nFrom Bagdad, it was planned to take in Iran, Afghanistan, India, including the Himalayas, and thence to Bombay. The expedition, described in the August issue of this magazine, consisted of a specially built trailer designed by General Motors at a cost of $80,000 and two Chevrolet trucks. There is a two-way short wave radio that can sustain conversation for eighty miles.\nA Miles-long Buick sedan with a special trailer and a crew of six men are involved in an extensive picturemaking schedule. Headed by Lawrence C. Thaw, they have cameras to burn. The lot holds two Mitchells, one for black and white and one for bipack, as well as an Akeley and two Eyemos. Additionally, there are four Contax and two Graflex, and at least a dozen meters, including Weston and G.E.\n\nA message writer requests that the United States stay out of the war until they return. This may not be a modest request. The writer sends their best wishes in any event.\n\nWilloughby's Printer Sale\nWilloughby's, at 110 West Thirty-second street, New York, is selling the Willo Miniature Printer and the Willo Metal Printer for $3.95 and $4.95, respectively. There is also a new Law model.\nPhoto Print Dryer, described as an efficient apparatus for those who demand fast and dry prints in a hurry.\n\nNovember, 1939. American Cinematographer.\n\nSound Quality Improvements.\nObtained With Fine Grain Films.\nBy C. R. Daily, Ph.D, Paramount Pictures Inc, Hollywood.\n\nThe quality of sound recording on film has steadily improved during the last few years due to many developments in all branches of the art, including recording, re-recording, laboratory processing control, reproducing, and acoustics.\n\nThe relatively coarse-grained structure of the positive types of film used for variable density recording, however, has basically limited the quality that could be obtained. These films, when reproduced, have a restricted volume range due to the film noise which acts like a veil, masking low-level sounds and restricting definition and naturalness.\nTheuralness of the recording. The modulation of film noise by the recorded signal also produces a swish, which is particularly disturbing in the case of piano and other musical recordings. It was well known that material improvements in sound and picture quality could be obtained from fine grain films. However, until recently, light sources have not been available with a sufficiently high intrinsic brilliance to properly expose such films. Similarly, no fine grain films had been available which could be printed to produce a picture of satisfactory quality for theatre reproduction. With better light sources and new fine grain film stocks becoming available this year, Paramount Pictures undertook the problem of determining the commercial practicability of using these new light sources and films to produce better pictures and improved sound quality for theatre use.\nThe application was chosen for improvement of film stocks in the theater to maximally benefit the audience. The Paramount film laboratory handled issues related to developing and printing fine grain films, as reported by J. R. Wilkinson. The Sound Department developed techniques for creating a satisfactory fine grain release sound negative for the new fine grain Movietone print. Procedures for applying fine grain films for original recordings and dubbing prints were also established to complete the sound handling process. The following basic problems had to be addressed:\n(a) Find a light source for the film recorder with eight to ten times the intrinsic brilliance obtained from coil filament tungsten lamps as normally used. (b) Find a suitable fine grain negative stock that can be properly exposed and developed, and which has sufficiently low noise. (c) Test a special negative developer for this fine grain stock, and (d) determine dynamically the optimum processing constants for the new fine grain negative and release print.\n\nThese Benefits Resulted In:\n\n1. The sound quality was significantly improved.\n2. Film noise was reduced by 30-50%.\n3. The disturbing effects of film noise and modulation noise were reduced to half or a quarter of their former value, as evaluated by the ear.\nThe dynamic distortion of the film print has been reduced. An improved fine grain picture was obtained on DuPont 222 stock, achieving a visual control gamma of approximately 2.50 when developed at approximately normal time in the release developer. The same stock was also found suitable for use as a sound negative. However, since a gamma of 0.50 was obtained when developed at the minimum time in the normal sound negative developer, a special borax sound negative developer was engineered and made available by the laboratory to obtain the necessary low gamma of 0.27. Tests indicated that in order to expose this negative in the variable density release film recorder, the 9 ampere coil filament tungsten lamps would have to be operated at 10.5 amperes, i.e., at a current that is too high for safe use. The high pressure 85 watt General Electric lamps were used instead.\nElectric H3X mercury arc was tested and found quite suitable as a light source except it required operation at approximately 90 watts with very little safety margin available in case more exposure was required, and also required a five to ten minute warming-up time with an equally long cooling time required before restriking in case of a temporary power failure.\n\nForced Draft Modification\nThis latter difficulty might lead to expensive production delays. Therefore, a forced draft air-cooled modification of this arc was engineered to permit operation at higher wattage.\n\nThis development also leads to the following distinct advantage: twice the output.\n\nTABLE 1\nDENSITY RELEASE RECORDING PROCESSING CONSTANTS RELEASE SOUND NEGATIVE:\nFilm Stock .\n. DuPont 222, fine grain\nRecorder Exciting Lamp .\nAir-cooled G.E. H3X Arc, 140 watts\nDeveloper:\n125 volts, 1.1 amperes; 5-10 pounds air pressure\nSpecial borax sound negative developing machine.\nNormal sound negative developing machine.\nDeveloping time: Approximately 4 minutes\nIIB visual control gamma\nRecorded negative density, visual, unbiased\nMovieTone release sound print:\nFilm stock . DuPont 222, fine grain\nPrinting lamp . Developer .\nNormal positive\nDeveloping time: Approximately 3 minutes\nIIB visual control gamma\nSound print density, visual, unbiased\nNovember 1939 \u2022 American Cinematographer 489\n60/40 cycle intermodulation print used to determine optimum processing constants.\nExposure of the normal arc was obtainable and warming-up time was reduced to less than a minute with immediate restriking of the arc possible in case of a power failure.\nThe optimum sound processing constants were determined.\nThe determination of trols for the fine grain negative and print was achieved through the intermodulation distortion method, which involves the simultaneous recording of two low frequencies. The print from this test negative is reproduced on normal theatre type equipment, and the amplitude modulation of the lower level signal is determined by a suitable analyzer. In this way, the dynamic distortion of the reproduced print is obtained without the need to make corrections for factors such as light valve gamma, printer factor, projection factor, etc. Sensitometric measurements are still used as laboratory processing controls, but dynamic measurements are relied upon to achieve the best quality. The intermodulation measurements indicated that with the optimum negative and print controls, fine grain films had a somewhat lower distortion.\ncould be obtained with normal positive type emulsions. A sample of such an intermodulation print is shown in Figure 1. In this case, a 60 and 400 cycle signal were recorded, the 400 cycle component being 12 db lower in amplitude than the 60 cycle component. The peak modulation of the light valve was 80 percent.\n\nTable 1 itemizes the operating constants as finally worked out for fine grain release recording.\n\nDubbing prints from normal positive type film sound negatives can also be improved by the use of fine grain films. The noise is reduced approximately 3 db by comparison with positive type prints.\n\nThe procedure worked out for release recording is of course applicable to original recording. Thus, eventually, the improvements of fine grain films can be realized in all steps involved in the handling of sound.\n\nNoise and modulated noise effects are:\n\n1. Operating constants for fine grain release recording:\n   - Emulsion type: Normal positive\n   - Peak modulation: 80%\n   - Signal recording: 60 and 400 cycles\n   - Amplitude ratio: 60:400 = 1:6.67\n   - Noise reduction: Approx. 3 db in dubbing prints.\nThe stage and recording mixers have materially reduced distortion, providing more latitude in mixing and improved sound print quality. (1) \"Analysis and Measurement of Distortion in Variable Density Record\" by J. G. Frayne and R. R. Scoville, Journal of the Society of Motion Picture and Television Engineers, Vol. XXXII, June 1939.\n\nAgfa Ansco Corporation of Binghamton, NY, should not be confused with the Agfa companies on the British \"blacklist.\" Agfa Ansco Corporation of Binghamton has no connection with the named Agfa companies. All of Agfa Ansco Corporation's products are manufactured in Binghamton, and its only export trade is to United States possessions and Canada.\n\nLittle Sets April 5 for Eleventh Annual Show\n\nJust under the wire comes word that the Eleventh Annual International Show of Amateur Motion Pictures will be staged this year by Duncan.\nMacD. The show, just the same as in the past 10 years, will be a little bigger and better this year. The show will take place on Friday, April 5, 1940, at the Barbizon-Plaza Theatre in New York, for the benefit of the Peabody Home for Women. On Monday, April 8, the show will be repeated at the Newark Art Club in Newark. Then on Sunday afternoon, April 14, under the auspices of the Department of Visual-Audio Education, the show will move north and east to Dartmouth College, Hanover, NH.\n\nInstructions to contributors include the following rules: All films must be received in New York by March 1, 1940. Films must be 16mm. and may be black and white or color. Reduction is permitted.\nFilms must be submitted from 35mm originals will not be accepted. Films may be silent or sound (on film, or scored with records). If scored with records, detailed cue sheets and if possible the appropriate records, should accompany the film. Records should be shipped in wooden containers.\n\nIt is requested that films approximate between 8 and 15 minutes of screen time. Exceptions to this will be made only for films which, in the estimation of the jury, are of such outstanding interest that others must be sacrificed to screen these.\n\nFilms should be addressed to Eleventh Annual International Show of Amateur Motion Pictures, c/o Duncan MacD. Little. 33 West 67th Street, New York City. Carrying charges to New York must be prepaid.\n\nNo specific method of shipment is stipulated. Each shipper will use his best judgment about this, and about method of payment.\nAs for packing, registered parcel post is generally best. Arrangements have been made for adequate insurance on all films accepted for showing or consideration. To be eligible for this insurance, the shipper must notify Mr. Little of their intention to forward a film (or films) and receive confirmation in return.\n\nInsurance covers \"All Risks\" as commonly understood in New York insurance circles, and applies from the time of original shipping by the sender until final receipt again by him.\n\nValuation will be as stated by the shipper, but not to exceed 50 cents per foot, 16mm.\n\nWhile in our custody, films will be handled by experienced projectionists only, and every care will be taken. However, neither Mr. Little nor his assistants can assume responsibility for unforeseen accidents.\n\nFilms will be handled only as necessary.\nThe jury is responsible for passing judgement on the following films, and if selected for \"scoring,\" they will be screened at the Eleventh Annual Show. All films will be returned via prepaid parcel post in a reasonable time after the shows.\n\nOrange County 8mm Club\n\nThe monthly meeting of the Orange County Eight Millimeter Club was held in the auditorium of Hoover school, with President Raymond Harvey presiding. The contents of the suggestion box were read and discussed. Ivie Stein offered to use his radio hour for publicity if the club decided to film a scenario. The drawing for door prizes ensued. They were won by C.C. Benford and Cartwright Smith.\n\nThe following pictures were then shown: Mr. Harvey's door prize film, Mr. Blanding's vacation trip, Mr. Warner's vacation trip.\n\nMargaret Benford, Secretary\nAmerican Cinematographer \u2022 November, 1939\nJOHN ALTON, A.S.C., returns to Hollywood and is glad to be back after twelve years of traveling and making pictures in Germany, England, France, Africa, Istanbul, Berlin, Paris, and the Argentine, with some time in the United States in between. He intended to make one picture in the Argentine but ended up making six. This extensive traveling required considerable language acquisition, including French in France, German in Germany, and Spanish from the Americas, from the Rio Grande to Patagonia, as well as other languages he does not claim to handle fluently. In his last assignment away from home, he went to the Sono Film Company.\nIn Buenos Aires, the largest film company in the Republic, and I remained for a year and a half. The next to the last picture was \"El Matrero.\" A free translation would be \"The Bad Man\" or, considering the distant location where the exteriors were shot, \"The Bad Man of Tucoman.\" The picture was a sensational success. The dailies raved about it, giving especial credit to the photography. In our recent September issue, we told how Alton had been credited by Orestes Caviglia, director of the picture, in an interview:\n\nSelected for Italy\n\nI had several coworkers in the making of the picture. I must mention John Alton for his intrinsic merits, who aided me with his ample culture in writing the scenario and for his experienced contribution in the filming of the picture.\n\nThe Instituto Cinematografico selected\n\"In 1927, Alton began his wandering by being sent to Heidelberg with Ernst Lubitch and camera man A1 Lane to make stock shots for \"Old Heidelberg.\" Before this, Eastman had introduced Panchromatic in American studios, but it had not been used in Germany until the photographing of \"Old Heidelberg.\" Arrangements were made with UFA Studio to use its laboratory for the development of Panchromatic. At a special luncheon at UFA Studio, Alton discussed the new Panchromatic stock with the studio's photographic staff, describing its advantages. John Alton, seated in chair following action in \u201cEl Matrero,\" recently highly successful Sono Film of Argentina.\"\nAnd it marked a real step ahead in the photographic field. Alton had experience in laboratory work before taking up camera work, a routine some successful cameramen before and since have likewise followed. After he had returned to the States, he was sent to Switzerland by Joe Cohn of MGM to film the Olympics for background shots for a Garbo Picture. This was in 1928. In Switzerland, word was cabled to him to report to the late George Hill, former cameraman and now director, as operative cameraman, in Paris. There was work to be done on a foreign legion picture in Algiers and Morocco. Percy Hilburn and Harold J. Marzorati, A.S.C., were along on that trip. There was work in England and France with A.L. getting stock shots for a Jackie Coogan picture. Then Sascha of Vienna called him for.\nOne picture. This was followed by several shorts for the Paramount office in Berlin. Curtis Melnitz, president of Berlin Carra United Artists, sent him at the head of an expedition to Istanbul or Constantinople, as might be more familiar, and Asia Minor. There were exteriors to be photographed of a film called \u201cThe Man Who Killed,\u201d by Claude Ferraire of Paris.\n\nHe went to Joinville.\n\nThen he took a chief cameraman's place with Robert Kane at the Joinville or Paris studio of Paramount, shooting versions in different languages.\n\nIn 1932, the director of the Buenos Aires opera met John Alton in Paris. There were talks regarding the motion picture, its background, its present, and its unlimited future. There was no studio in Argentina, and its chief city, Buenos Aires, would rate third in population.\nThe director was the first cameraman in Buenos Aires, installing the first motion picture studio in the city and country, which is now one of the most prominent - the Lumiton. He installed and built lights and laboratories. In late 1932, Lumiton produced its first talking picture, \"Los Tres Berretines.\" It's worth noting that Alton stumbled upon this same picture, produced under numerous handicaps in 1932, in a small theater in the country or outside the city's range. Its survival gave him a kick because of Lumiton's financial success, leading him to install another studio, the Argentina Sono Film.\nNow standing as the No. 1 production unit south of the Rio Grande, Buenos Aires has over two hundred sound theatres. With a population of two and a half million, it is not at all crowded. Several pictures made in that country went out under the photographic imprint of Alton. During his work in Argentina, he has photographed twenty-five feature-length productions, as well as co-directed, co-produced, and written continuity on others.\n\nAsked as to the length of his stay in the country this time, he replied: My relations with my last employer in Argentina are most cordial. In fact, I am commissioned to do some equipment buying for the company in this country, and am executing that commission. But the United States looks good to me. Here is where I aim to be.\n\nRegarding customs:\n\n\"What is the prospect for American pictures in South America?\" was asked.\nThat's a question. If the United States is to regain its old foothold on this market, more pictures should be made with South American backgrounds and full regard for South American manners and customs. In any audience, one slip, a slip that would ordinarily be passed by foreigners, will be howled at in the land of its supposed nativity. In one picture, a scene which caused endless ridicule was one wherein a policeman in swell Parisian cop's uniform walked the streets of Buenos Aires. \"It is not an uncommon thing for an American picture to portray its leading man leaving for his coffee plantation in the Argentine. The fact that aside from the Buenos Aires Botanical Gardens, there is no coffee grown in the country accounts for the laughs that followed when shown in B.A. \"As I said, B.A. is a city of practical contrasts.\"\nThe city has a population of two and a half million people. It has five subway lines and others under construction. It boasts two of the most modern racetracks and one of the finest seaports. Argentina has its own motion picture industry, claiming some modern studios and laboratories. The industry has grown from one picture in 1932 to between sixty and eighty in 1940, depending on the manufacturing operations of The Eastman Kodak Company in Rochester. The Eastman Kodak Company's manufacturing operations in Rochester are not endangered by any material shortages due to the war.\n\nInformation posted on bulletin boards in the Eastman plants and office in that city showed that important materials, which came largely from Europe in 1914, are now produced in the United States.\n\nWhen war broke out in 1914, the company had to make frantic efforts to accumulate materials from abroad to sustain our manufacturing operations.\nAt that time, adequate supplies of the following important materials were available only through import from Europe: paper to be sensitized, mostly from Germany; gelatin, mostly from Germany; sensitizing dyes for emulsions, from Germany; blanc fixe for surfacing paper, mostly from Germany; glass for plates, from Belgium and England; glass for lenses, mostly from Germany; certain developing agents, mostly from Germany; synthetic organic chemicals, from Germany. Persons working in departments where these materials are used will realize how serious any lack of them would be.\n\nThe war in 1939 finds that situation completely changed: Kodak Park now makes all of its own paper for sensitizing. The gelatin we use in Rochester is now entirely supplied by Kodak Park and the Eastman Gelatine Corporation, Peabody, Mass. The Kodak Research Laboratories have developed new processes for the production of these materials.\nLaboratories now make the sensitizing dyes we need. Blanc fixe is now made at Kodak Park entirely from American materials. Film has very largely superseded glass since 1914 for X-ray, portrait, and commercial photography. However, all the glass needed the importation of rawstock film and chemicals.\n\nThe average Argentinian is even more of a picture-goer than is his northern brother in the States. And don't forget that Argentine women are among the best-dressed in the world, and their men are not far behind them. Failure to recognize this fact has been responsible for the failure of more than one picture.\n\nIt is a situation that can be remedied. It is not sufficient that a picture be spoken in Spanish. If the picture is not to the taste of the audience or to its mentality, it fails just as does an American picture at home. Many dramatic productions have suffered from this oversight.\n\"situations have been ruined because the characters talked in different dialects, resulting in great hilarity. \"A picture is made by attention to a multiplicity of little things \u2014 or it is correspondingly marred. When dealing in a medium other than your own, the little things will multiply. That is inescapable.\"\n\n\"Now can be obtained domestically. Increasing amounts of glass for lenses are being made in the United States, and we have on hand a good stock of such foreign optical glass as we do require. Our requirements for photographic developing agents are now supplied entirely by Kodak Park and the Tennessee Eastman Corporation. Kodak Park produces any synthetic organic chemicals we need and also sells organic chemicals to universities and other laboratories.\n\n\"Therefore, \u2014 the management is able to inform the employees that our Roch\"\nOperations are not endangered by any material shortages foreseeable as a result of the war.\n\n16mm Sound Recording for the Amateur by Carroll A. Nye, Jr., and Samuel T. Golow. Fomo Publishing Company, Canton, Ohio. 58 pp. 13 sketches. $1.50.\n\n\"The authors of this valuable treatise have succeeded admirably in clarifying what is generally regarded as an abstruse subject so that the amateur, without professional training, can readily grasp both the principles and operations involved in sound pictures. Through the use of simple language and easily understandable drawings, the theory and practice of sound pictures are set forth so that any amateur can easily understand the ideas and put them into practice.\" - A. Shapiro, chief engineer of the Ampro Corporation.\nThis treatise should do much to popularize active participation in sound recording and reproduction by the amateur. Unlike in 1914, Kodak now gets supplies at home.\n\nNovember 1939, American Cinematographer: Making Modern Matte Slots\n\nNo branch of modern special-effects cinematography has received less attention in technical discussions than the matte-shot. While it is only natural that relatively newer and more spectacular techniques like the projected-background process and the use of the optical printer should monopolize the discussional spotlight to some extent, the matte-shot has an important place in modern special effects camerawork. It contributes significantly to today's task of minimizing production costs while enhancing production values.\n\nThe modern matte-shot is an outgrowth of the old time \"glass shot.\" In the early days of filmmaking, a glass plate was used to separate the foreground and background elements of a scene. This technique was known as the glass shot. However, the matte-shot evolved from this method and became a more sophisticated and versatile technique. It involves shooting the foreground and background elements separately and then combining them using a matte, which is a semi-transparent material. This process allows for greater control over the final image and can produce stunning visual effects.\nThis will be remembered: a large pane of glass was suspended several feet in front of the camera. On it was painted whatever additions of structure or background might be desired to complete the scene, with clear areas through which the actual action could be photographed. The painting and the actual set were carefully aligned and blended into each other, so that the result was a composite scene combining painted images and live action.\n\nBy Byron Haskin, A.S.C.\nHead, Department of Special Effects\nWarner Brothers-First National Studios\n\nIn Two Articles\n\nArticle I\n\nFrom the purely photographic point of view, this system worked excellently. But from the practical standpoint, it had two serious disadvantages. It delayed production, and it restricted the technical and artistic freedom of both the director and the cinematographer.\n\nFaster and Better.\nNo matter how expert your glass-shot technicians, time was involved in making the painting and aligning it with the camera and set. Once aligned, the position of the camera could not be changed without necessitating changes in the mounting for matte paintings. Movable, by remote control, in any direction. Note: rigid camera mount (left) and sink for developing test negative (right).\n\nIn the painting, or even an entirely new painting.\n\nTo offset these practical drawbacks, the glass-shot evolved into the matte-shot. Instead of photographing both elements of the shot at once, each is now photographed separately, with complementary areas matted out. Both elements are photographed directly on the same negative film, though in separate exposures.\n\nThis virtually eliminates the difficulties encountered in the glass-shot process.\nThe process of creating matte-shots involves the heaviest elements being photographed more quickly with almost normal camera angles. This is achieved by creating and photographing the matte-paintings separately, allowing both the painter and cameraman to work with greater precision without the pressure of delaying production on set. The result is better, more convincing shots on screen and a wider application of the process.\n\nAs a rule, the need for a matte-shot arises. The bottom image shows actual construction on the set. The center image is a frame enlargement from a test negative, displaying the matte portion. The top image shows the completed matte-shot. (American Cinematographer, November 1939)\nMatte-shots combine actual set and painted wall and ceiling. This becomes evident in the early, interdepartmental conferences on the script. Certain scenes, such as interior long-shots in which a ceiling is needed to complete the impression of a set, obviously require matte-shots. Others could be accomplished by conventional means, but can be achieved more convincingly or more economically using the matte-shot technique.\n\nMinimize Set-Construction:\nOnce this method has been determined, all concerned coordinate their plans on the basis of making a matte-shot. Actual set construction is held to the minimum necessary to permit free movement of the players; the rest is left to the matte painter.\n\nSometimes this actual construction is extremely little; in one production, for instance,\nThe script called for a scene showing a flag flying from a castle tower. However, only the flagpole and flag were built. The tower and background were provided by a matte painting.\n\nDuring the actual shot, a member of the special effects staff is on set to manage the matte. Since a soft blend is usually preferred, the matte is placed relatively close to the lens to produce this effect.\n\nThe camera is tied down to eliminate any possibility of movement, and moving-camera shots are impractical.\n\nHowever, since the painting, which is to complete the scene, is not only photographed but painted after the action is photographed, both the director and the director of photography enjoy reasonable freedom in choosing and changing their camera angles as best for action or composition.\nThis means that on the set, there is a minimum of delay for making and adjusting the matte, tying down the camera, and exposing the vital test footage which guides the making and photographing of the matte painting. From 150 to 250 feet of test footage is exposed for most matte-shots. When the action has been photographed, the negative is sent, undeveloped, to the special effects department, where it is held until needed.\n\nTest Enlargements\nA short length of the test footage is developed, and a still enlargement is made to guide the matte artist in making his painting. To minimize the misleading effects of negative graininess, we at Warner Brothers usually make this enlargement not from one negative, but from a composite of several negatives.\n\nBottom, set as actually built.\nCenter, test negative showing matte-line.\nTop, the completed matte-shot.\nBut from several frames of film, the individual grain images tend to overlap and eliminate the effect of grain. At times, a dozen or more frames are used to produce a single enlargement. This technique would be worthless if motion were involved; but fortunately, the matte-painter need only concern himself with tonal values and form.\n\nIn gaining this effect of minimized grain, definition is necessarily sacrificed to some extent. Projection of the test negative and inspection through a moviola and other magnifying devices help to offset this, but increased definition in the enlarged positive would be a definite asset.\n\nThere are a number of different methods of assuring accurate coordination between the original shot and the matte painting. Paul Detlefsen, who has been doing the matte-paintings for our films, explains...\nFor several years at Warner Brothers, a painter uses a unique still projector. This device projects a frame of the test negative directly onto a matte-card in his easel. By using the projected negative image as a guide, he lays out his painting, providing accurate alignment, detail, and physical form. The enlarged multi-frame positive serves as a guide for tonal values. A delicate balance is required when creating a matte painting; the best effect is achieved with neither too much detail nor too little, as no two matte-shots present identical problems. This can only be guided by experience.\n\nFor photographing the paintings, we have a special camera installation. The critical factor is absolute alignment of the two components of the composite image.\nEach camera is mounted on a rigid concrete foundation-pillar, with a fixed head adapting it to the type of camera in use, at the top. This pedestal is enclosed in a generously proportioned booth, equipped with complete darkroom facilities. The camera is trained on the painting through an unglazed window, which may be closed - completely light-tight - by a sliding port. A test can be photographed, the exposed footage removed from the magazine without disturbing the camera, and the film developed for inspection with a minimum of trouble and delay. This is important, as perfect re-photographing requires:\n\nTwo infallible features -\nFine lenses\nEastman Plus X\nPanchromatic Negative\nWith this combination, today's smart photographer is establishing new and startling standards of beauty and artistry.\nJ. E. Brulatour, Inc. - DISTRIBUTORS -\nPacific Laboratories Announce Complete Ibmmu Service\nThe manufacturers of this country have recognized the tremendous advertising value of industrial motion pictures. Large companies such as United States Steel, General Motors, Caterpillar Tractor, Standard Oil, and many others with similar financial backgrounds have produced pictures costing $100,000 and more.\nTo place this wonderful advertising medium within the reach of companies with smaller budgets, methods had to be found to cut production costs. Smaller producing companies entered the field and produced pictures on 16mm film ranging in price from two to five thousand dollars.\nWith the advent of the talking movie, further economies were achieved by using synchronized sound on film instead of separate sound tracks. This development opened up a new field for industrial motion pictures, and the use of this medium for advertising purposes became widespread.\ntion  pictures,  complications  arose  for \nthe  16mm.  producer.  Equipment  for \nsound  recording,  sound  projectors  and \nmany  other  instruments  were  not  avail\u00ac \nable  in  this  size.  Equipment  manufac\u00ac \nturers  realizing  the  possibilities  in  the \n16mm.  field  set  to  work  and  today  sound \nrecorders,  sound  cameras,  and  every \nother  known  device  is  manufactured  to \nfit  this  size  film. \nFilm  manufacturers  who  furnish  the \nmotion  picture  industry  with  special \nemulsion  film  for  general  studio  work, \nfor  difficult  shots,  for  background  and \ngeneral  exterior,  supply  this  same  film \ntoday  in  the  16mm.  size. \nTo  produce  a  professional  picture \nusing  these  different  types  of  sensitive \nLeft,  Sound  Recording  Equipment  of \nPacific  Laboratories \nPacific  Laboratories\u2019  developing  machine \nfilm  the  photographer  must  have  the \ncooperation  of  a  laboratory  where  defi\u00ac \nnite  standards  of  processing  can  be  ob\u00ac \ntained. \nThe larger producers in the theatrical field have their own laboratory equipment. Those who do not can rely on competent service companies with complete 35mm. equipment. Producers in the 16mm. field have long felt the need for a service company with coordinated departments to handle the technical work involved in their productions. Pacific Laboratories, on the fourth floor of the Bekins Storage Building, 1027 N. Highland Avenue, Hollywood, has just recently completed the construction and equipping of a plant to render service exclusively on 16mm. film.\n\nNovember, 1939 American Cinematographer 497\n\n\"Dear Sir:\nA few years from now... the folks will cherish the pictures they take of me today!\u201d\n\nYou\u2019re right... providing those pictures are good pictures! And one way to ensure good pictures.\nThe use of Agfa's 16mm Triple S Superpan Reversible Film is recommended for better indoor shots and slow-motion movies under difficult light conditions. Triple S Superpan offers the necessary extreme speed, along with remarkably fine grain, fully panchromatic color sensitivity, and well-balanced contrast. The final screen results will be exceptional for their depth and clarity. Ask your dealer for Agfa Triple S Superpan Reversible today. He has it in 100-foot rolls at $6.00 and in 50-foot rolls at $3.25. These prices include processing and return postage.\n\nMade by Agfa Ansco Corporation in Binghamton.\nAPEA 16 WIM. TRIPLE S HU I\u2019M SUPERPAN FILM\nBy Captain Don Norwood, USA, Retired\n\nThe use of photoelectric exposure meters is becoming quite general among professional and amateur cinematographers.\nFor the efficient use of a still photographic device, it's essential to study some of its characteristics. An ideal instrument for this purpose seems to be a photoelectric exposure meter. Pointed at a photographic subject, just as a camera is, and measuring the same reflected light the camera imposes on the sensitized film, should yield nearly perfect results.\n\nHowever, in actual practice, such is not always the case. For numerous years, my principal duty in the Air Corps was being in charge of instruction at an Army Air Corps Photographic School. During that period, I observed the efforts of hundreds of students in determining negative exposures by various methods.\nIt was my experience that groups of students, after receiving careful instruction in the use of the meter, would later display widely varying results in negative densities when sent out to photograph a given subject. This condition persisted even after the students had become proficient photographers. Conversations with many professional and amateur cinematographers and photographers served to confirm the observation that quite widely varying results may be obtained even with careful use of the conventional type of photoelectric exposure meter. It was further determined that the conditions herein described seemed to be aggravated in the case of indoor photography with its somewhat greater contrasts. Likewise, natural color film, such as Kodachrome, with its inherently high contrasts, was also affected.\nContrast and narrow exposure latitude presented quite a problem in the school. In these conditions, it seemed desirable to make a special study of the conditions surrounding determination of exposure using the photoelectric exposure meter. Some of the results of this study are presented here.\n\nLet us consider the exposure problems presented in some typical scenes and see how the meter functions in each case. Figures 1, 2, 3, and 4 represent such scenes. Consider Figures 1, 2, 3, and 4 not as pictures to be examined for flaws, but rather as representative scenes to be photographed.\n\nMeter Readings Affected\n\nScene 1 consists of a figure of a girl wearing a light dress against a dark background. Illumination is by sunlight. It has been observed that the most general method of using the meter is that known as the \u201cAverage Brightness Method.\u201d\nWith this method, the meter user measures the average brightness of the scene from a point near the camera position. Some modify this by moving to a position nearer half-way between camera and subject to offset the effect of the meter's wide acceptance angle compared to the camera's angle of view. Appreciate that for all practical purposes, the meter is affected only by the bright portions of a scene. The dark portions have such small relative effect that their influence may be largely discounted.\n\nIn Scene 1, only a relatively small portion of the whole scene is composed of bright areas. A large portion is composed of dark areas. Consequently, a meter reading for this scene will have a low value, and considerable exposure will be indicated.\n\nNow let us suppose that into this scene enters a second girl.\nA girl similar in size and dress to the original subject walks in and stands next to her. Another meter reading is taken. With the introduction of the second girl, the bright portion of the scene has been nearly doubled in area. The additional reflected illumination acting on the meter will cause a reading roughly double the value of the original reading.\n\nTwo more girls, similar in size and dress to the first two, enter the scene and stand beside them. Now the bright area has been doubled once more, consequently the meter reading will again be doubled.\n\nContinue the process by adding four more similar figures to the scene, which already has four. We find the bright area doubled yet again, and likewise the meter reading has doubled. We now have a meter-reading which is eight times the original.\nFrom the original scene, we have an exposure indicated which is one-eighth that of the original. Three f-stops difference. Yet, the brightest highlight has not become more intense, nor the darkest shadow any lighter. An exposure which would be correct for the original setup would be just as correct for the last described. It is discovered that the relative size of bright and dark areas in a scene has a most marked effect on the readings. This effect can be very misleading, as just shown.\n\nMeter Follows Figures\nConsider Scene 1 again. If we were to keep adding brightly dressed figures until the scene was full of them, the meter reading would keep right on increasing as shown, and the indicated exposure decreasing.\n\nBy the time we had, say, 32 bright figures in the scene, we would get about\nThe scene in Scene 2 has the same brightness as Scene 1 due to the large area of light background. With identical brightest highlight and darkest shadow values in both scenes, the same exposure would have been proper for both. However, the meter gave widely divergent indicated exposures for them.\nThe two scenes. This was caused by the fact that this type of meter is affected so strongly by the relative sizes of light and dark areas in the scene, a factor which is of no importance whatsoever in the correct determination of exposure.\n\nHow Position of Meter Affects Readings\n\nNow let us consider Figure 4, which is another representation of the scene in Figure 1. Superimposed on this scene we find several concentric circles. Circle A incloses the area which would be effective in reflecting light to an exposure meter used at one half the distance from camera to subject.\n\nIf the operator moves forward to a position three-quarters of the distance from camera to subject, the area effective on the meter will be that inclosed by Circle B. Similarly, for seven-eighths of the distance, see Circle C, for fifteen sixteenths; Circle D, for thirty-one thirty-two.\nIn seconds, at Circle E. What will be the meter readings at these various station points? In A, we find a relatively large dark area which has very little influence on the meter. The bright area is relatively small, so the meter reading will be low. In B, we find the dark area, which had practically no effect on the meter anyway, has suffered a reduction in relative area. The bright portion occupies relatively twice as much area as in A, consequently the meter reading will be approximately twice as great. In C and D and E, we get an extension of the same effect. In each case, the bright area has become relatively greater in size, with a corresponding increase in the meter reading. The variation in meter readings from A to E will be relatively large. It will be seen how greatly meter readings are influenced by position.\nThe readings from a reflection type photoelectric exposure meter are influenced by the relative size of light and dark areas in the scene and the position chosen by the individual operator. These factors can result in significant variations.\n\nFigure 3 illustrates another scene where the individual habits of the meter user may have a notable impact on results. Circle A denotes the area measured by one meter user. From the same position, a second user will measure a different area.\nA user's meter is pointed down slightly, allowing it to \"see\" Circle B. Another user's meter is tilted upward slightly and \"sees\" Circle C. A slight angular turn to the right or left will produce similar circles at the sides. Each circle encloses areas containing substantially different proportions of light and dark areas. Since the meter is sensitive to relative proportions of light and dark areas, it will be evident that various readings may be obtained from the same scene. A small angular change in meter attitude may result in a significant change in the reading.\n\nMultiple Reading Method\nSome meter manufacturers recommend taking a reading on the brightest highlight and the darkest shadow in a scene. This is undoubtedly the most accurate way to use the meter.\nThe natural reluctance of the average photographer to take more than one reading of a scene must be overcome. Next, determining where the brightest significant highlight exists is a problem. However, PLUS-X, Super-XX, and Background-X have established themselves as the industry's favorite raw films. They have repeated the history of Eastman films through unmatched photographic quality and complete trustworthiness. Eastman Kodak Company, Rochester, N.Y. (J.E. Brulatour, Inc., Distributors, Fort Lee, Chicago, Hollywood.)\n\nEastman\nPLUS-X Super-XX\nfor difficult shots\nBACKGROUND -X\nfor backgrounds and general exterior work.\nNovember 1939, American Cinematographer 501\n\nBringing Hawaii by Ormal S. Sprungman\n16mm. Kodachrome frame enlargements by Sprungman from Dan Billman Jr.'s \"Hawaiian Honeymoon.\"\nTitles filmed by Park Cine.\nEnlarged from 16mm. color movie frame.\n\nWaikiki's blue waters photograph best on clear days, turning silvery under clouded skies. This 16mm. Kodachrome frame enlargement by Sprungman from Dan Billman Jr.'s \"Hawaiian Honeymoon\" was taken from an outrigger canoe.\n\nFilming in your own backyard has its virtues. For instance, you don't have to worry about customs, tropical packing or irate natives. But nobody seems to care much about the scenery around Podunkville when Pago Pago, Haiti and Darkest Africa start calling.\n\nDan Billman Jr., Minneapolis amateur cinematographer who shoots his films especially for public screenings, realized this. He knows the \"escape\" which:\nTravelogs provide stay-at-homes with offers and Dan knows what constitutes good footage. He recently told a local radio audience about the challenges he faced filming his 16mm feature, \"Black Cousins\" (first reviewed in the May 1939 American Cinematographer). He discussed how photographing through broken clouds resulted in his striking airplane footage, but also shared how police were called in with horse whips to drive off Haitian marketplace natives who had seized and attempted to run away with Billman's photographic equipment. At this moment, Dan is likely planning his cinematic plans for a coming winter excursion among the tan-skinned Samoans, as it's the allure of far-off places that adds sparkle to cruise photography and inspires a person to turn out the best stuff they know how.\n\nSix Weeks Filming\nJust one year before \"Black Cousins\" was born, Dan went to Hawaii with his bride to produce his first full-length color feature, \"Hawaiian Honeymoon.\" It took six weeks to film it. Fully edited and titled and synchronized with sound and music, the 1200-footer has been seen and heard by thousands of people who proclaim it one of the finest ever to come out of these parts. In fact, an abbreviated version of this feature was prepared and given a prominent spot last spring on the program of the Minneapolis Cine Club's Second Annual Movie Party. It was around the first few days of January 1938 that Dan called me. He was Hawaii-bound and wanted filming advice. I knew nothing about the islands, except that they were claimed to be a photographer's Eden. Admit it, I was as big a boob as the next fellow.\nI offered these suggestions, applicable to Egypt, India, or the Antarctic:\n\nFilm the boat's departure. Get shots from the pier looking up at the boat, and shots from the boat looking down at the crowd. Catch a couple toots of the steamer whistle. Film the deck games, the swimming pool, and catch candid closeups of interesting fellow passengers. Get the captain at work. Take a few shots over the railing, but step well back on the deck to frame each shot, including a part of the rigging in the foreground to lend depth to distant scenes. Try for similar shots at sundown against the western sky.\n\nBecause of heavy fog, the sailing from Los Angeles, originally scheduled for 10 p.m., was delayed twelve hours. This was advantageous, as the daylight departure permitted color filming of many of the introductory scenes.\nBillman sequenced the tugboats and other liners following in the wake. Sunsets were fair. He clicked over-the-bow shots of the frothy sea and gulls squawking and dipping to the water. With deck tennis and swimming, the five days at sea passed rapidly. Aloha Tower loomed into view. Native boys paddled out to dive for coins.\n\nBecause of the rainy season, his sunsets were fair, but his general scene exposure was good, despite the fact that he had exposed very little Kodachrome before leaving on this jaunt.\n\nAlthough he carried an exposure meter, he shamefully admitted that he toted no tripod and no telephoto. Both were included to advantage, however, in last winter\u2019s trip to the West Indies.\n\nI further suggested that when he arrived on the island, he steer clear of conducted tours, that he pursue his own exploration.\nposely shoot the sort of thing which most average tourists might neglect. Since he was using Kodachrome exclusively, why not try for closeups of 502 American Cinematographer November, 1939\n\nNo sailing is sadder, more impressive, than the departure from these picturesque islands. November, 1939 \u00a9 American Cinematographer 503\n\nHAWAIIAN HONEYMOON filmed! la Colon.\nDan and Jonanna Dieman a few of Hawaii\u2019s varied blooms, the hibiscus, for instance, and other flowers with color? Then there were the natives, their dances, waving palms silhouetted against western skies, the scenic spots along the coastal highway, intimate closeups of native life inland.\n\nAfter the Billmans established themselves on the island, they visited the local tourist bureau in quest of picture possibilities. They learned that the Eastman Kodak Company had recently introduced a new color film, Kodachrome II, which promised even more vivid colors than its predecessor. Excited by this news, Dan and Jonanna decided to experiment with the new film, hoping to capture the true essence of Hawaii's beauty.\nStore at Honolulu actually furnished a map of the island of Oahu with such filming spots marked. Hire car and chauffeur. In addition, the pair rented a car at a cost of $35 a week, hired a native Hawaiian as chauffeur and guide, and saw the out-of-the-way places quickly and efficiently, following spurs leading inland from the 100-mile stretch of coastal highway. If you want to taste luxury and high life, stop at one of the hotels, but if you like informality, Dan recommends renting an apartment along the beach, with the surf at your front door. Such apartments cost around $20 to $25 a week for short stays. Preceding his street scene sequence, Billman took an angle shot of a Honolulu sign, followed by a close-up of a Hawaii auto license plate, simply to establish the locale. Too many photographers make their city filming a comprehensive architectural study.\nDan discovered that audiences are more interested in human activities than inanimate objects, unless they are attractive or unusual. He had one fault in his municipal filming - a fault he has since corrected. He panned filming Honolulu streets from a lofty perch atop Aloha Tower, yielding to the same temptation that has plagued many moviemakers by swinging his camera to encompass a goodly expanse of the horizon.\n\nThe surf was tied up with coastal travel, and by close-ups of colorful sign posts, he saved himself the bother of later titling. At one location, he filmed the statue of a Japanese fisherman's strange god at whose feet coins were tossed in the old days.\n\nWeather: Bad - Footage: Good\n\nA little farther along lay the Blowhole, where salt water spouted geyser-like out of a hole in shoreline rock. The rocks were jagged and wet.\nThe slippery surface was covered in endless spray. A sailor had fallen to his death only a week before, and his body had never been found. David's hut at Punaluu provided plenty of local color. He tried to revive the ancient Hawaiian life by girding himself with a loin cloth, digging in the field, growing his taro, and demonstrating the simplicity of his grass hut existence. It was 4 p.m. and raining when the Billmans focused their camera on David's hut, but they came away with some excellent color footage at f.1.9, despite the bad weather.\n\nAt Kapiolani Park, against a natural backdrop of palms and huts, more than a score of native girls staged a free hula demonstration which literally devoured countless dozens of rolls of Kodachrome. In filming the performance, Dan squatted low on the ground in front of the spectators.\nHe shot up at an angle and watched backgrounds, eliminating completely any sign of the audience of 500 tourists. By alternating his long shots with closeups of smiling faces, expressive hands, and dancing bare feet, he gave the impression that the hula was staged especially for his camera. The same native lad who poses for pineapple ads climbed a tree, fetched down a coconut, debarked it, and proceeded to drink the juice. Tasted like wall paper cleaner. He sat down on the ground and began mashing taro roots into a putty-like poi. Billman admitted that such closeups, sans curious onlookers, added much to his travel film. Hawaiian flower closeups were taken with the one-inch lens at two feet, the closest working distance. (November, 1939, American Cinematographer, 504)\nThe huge petals filled the screen. Unfortunately, the night-blooming cereus was out of season. However, the \"pot of gold\" which pops into bloom was filmed in action by following a close-up of a closed flower with a quick close-up of an open one occupying the same area in the viewfinder. When the sequence is projected on the screen, the popping effect seems very natural. And then there were the hibiscus, the water lilies of Mauna Loa Gardens, and the groves of Papai trees.\n\nOne of the most spectacular sights, according to Billman, is the Nuani Pali, the 1200-foot cliff of sheer rock over which the great King Kamehameha drove thousands of warriors in 1795. Legend has it that if this drive is made by car at midnight, the sound you hear is not the howl of wind, but rather the tormented screams of dying men.\nThe islands are famous for their strikingly colorful sunsets viewed through the Royal Palms of Kapiolani Park. Billman brought back some of these gorgeous sunsets on celluloid, filming not only the sinking orb itself and the Kodachrome-dyed clouds, but also the afterglow in the sky overhead.\n\nIn every shot, some object was silhouetted in the foreground to aid composition. The usual exposure on his sunset shots was f.5.6, while the sun could still be seen, opening up to f.3.5 after the sun dropped below the horizon.\n\nThe most exciting footage in \u201cHawaiian Honeymoon\u201d resulted when the Billmans chartered an outrigger canoe, hired four strong-armed native paddlers, and rode out into the Waikiki surf \u2014 despite warnings that many once-active cameras now lie mossy and dormant on the coral reefs below.\nBillman filmed the lightning-speed ride up the wavy crests in his movie outfit, using bath towels, with surf riders and outriggers passing on each side. Each time the canoe filled to the gunwales with water, and each trip back meant wiping the lens and camera free of spray. Waikiki, which faces west, is best for shooting outrigger action movies in the afternoon, but the day must be clear for Kodachrome filming. Clouds seem to destroy the true beauty of Waikiki's blue water. The noon-day sailing for home provided a sadder and more impressive finale than most departures from picturesque ports. The strains of \u201cAloha Oe,\u201d played at the pier by the Royal Hawaiian band, faded away in the distance as the ship rounded Diamond Head. A sunset at sea, framed through the rigging with a gull winging about in the scene, closes the scene.\nEditing 1500 feet of Kodachrome down to 1200 feet with titles was the job of this piece's janitor. First, scenes a bit off in exposure were eliminated, followed by the lengthier footage being cut to fit the importance of the subject.\n\nApproximately 100 feet of double exposed titles, with appropriate fades, dissolves, and wipes were included. The final touch was synchronizing the 45-minute screening with music and sound effects.\n\nSuch disc-recorded sounds as whistles blowing, gulls squawking, airplanes roaring, and birds singing were dubbed in at appropriate places. Island recordings of hula music and the \u201cAloha Oe\u201d of the Royal Hawaiian band were purchased in Honolulu and used in scoring the film.\n\nEmploying two RCA record players and an RCA amplifier-loud speaker unit with microphone, Billman was able to give the film its soundtrack.\nAmong suitable musical selections for his Hawaiian film accompaniment were \"Paradise\" (introductory scenes), \"My Little Grass Shack\" (David's hut), \"Tomi Tomi\" and \"Cock-eyed Mayor\" (hula scenes), \"Little Brown Gal\" (tree-climbing and poi-making), \"Sweet Leilani\" (flowers), \"Heeia\" and \"Kukuna Oka La\" (surf riding), \"Hawaiian Paradise\" (sunsets), and \"Aloha Oe\" (departure for home). If Dan Billman ever returns to Hawaii again \u2013 and they say most folks usually do not once but many times \u2013 he claims he would visit and film the other islands in the chain, shooting some stuff from there as well. The lei, twined about the neck, is a symbol of native hospitality. Nearly one hundred miles of coastal highway leads Oahu tourists to scenic vistas. November, 1939 \u2022 American Cinematographer 505.\nHe would include sidelights on sugar cane and pineapples. The Eastman Kodak Company announces two new fine-era models, the Kodak Monitors Six-16 and Six-20, ready in November. Designed for critical purchasers, the Kodak Monitors are fully made in the Kodak Rochester factories. Special features include strong aluminum alloy bodies and backs, a new bed brace system providing 10-point support, a mechanism to prevent double exposures, both eye-level and waist-level finders, a monitor turret with automatic exposure counter, field depth scale, and rangefinder clip, and a single push button. Featuring automatic film-wind control and a body shutter release that retracts automatically when the camera is closed.\nThe four Kodak Monitor models control both opening and closing. The Six-20 and Six-16 models have a 5-speed Kodamatic shutter and Kodak Anastigmat f.4.5 lens, retailing at $30 and $35 respectively, covered in tooled, black morocco-grain Kodadur. The other two models feature the new 9-speed Kodak Supermatic shutter and Kodak Anastigmat Special f.4.5 lens, priced at $42.50 for the Six-20 and $48.50 for the Six-16. These models also have a black pin seal, genuine leather covering, and highly polished chrome bed braces with black enamel inlay. The film-wind control of the Monitors is simple and dependable, with a small lever.\n\nBriefly, to appeal to audiences with diverse interests, shoot the sidelights off the beaten paths. Both these models have a black pin seal, genuine leather covering, and highly polished chrome bed braces with black enamel inlay.\nOn the monitor turret, set at \"wind.\" Move the film until the numeral \"1\" appears in the red window in the camera back. Shift the lever, set the exposure counter dial at \"1,\" and make the first exposure. For each succeeding exposure, turn the winding knob until it stops, with the film automatically centered. After the eighth exposure, return the control lever to \"wind\" to wind the balance of the film and paper trailer onto the take-up spool. Exposures are counted automatically by the counter dial on the turret. All Monitors take large pictures; Six-20s take eight 2 1/4 x 3 1/4 pictures on a roll of Kodak 620 Film, and Six-16s take eight 2 1/4 x 4 1/4 pictures on a roll of Kodak 616 Film. In styling, precision of construction, and performance, they will rank high in the Kodak fine-camera line.\nA new line of fine cameras with a wide price range - the Kodak Vigilant Six-20 and Six-16 - are announced by Eastman. The Kodak Vigilant line offers a total of eight models: four in the Six-20 group taking pictures 21.4x3.5 inches; four in the Six-16 group taking 2.14x4.14 inch pictures. Construction features include bodies and backs of special high-grade aluminum alloy for strength and rigidity; a new system of bed braces with 10-point support for maximum rigidity of lens and shutter mount; body shutter release with large rounded-head plunger, which retracts automatically as the camera is closed, preventing accidental exposures; both eye-level and waist-level viewfinders; a special latch to prevent accidental opening of the loaded camera; and tripod sockets for vertical and horizontal positions, as well as folding supports.\nLevel the camera in vertical or horizontal position on a flat surface. All handsomely finished and precisely constructed by fine camera craftsmen in the Kodak Rochester factories, the Kodak Vigilants are available at prices ranging from. Nielsen of Tucson Thinks Movies Should Follow Candid\n\nCharles Nielsen, manager of Martin Drug Store No. 1 in Tucson, Arizona, and whose particular \u201cbaby\u201d is the photographic department, has again \"hit the bell\" with a successful sales idea. A short time ago, Nielsen sold Pima County a movie camera for use in \"mugging\" drunken driving suspects, and it has proven very successful.\n\nHis latest is the sale of a candid camera and equipment to the director of the Pima County welfare board. This camera is to be used to snap scenes of poverty and filth that will be of value in impressing upon the people of Pima County.\nCounty the fact that they have a real welfare problem on their hands. Nielsen hasn\u2019t said as much, but he probably figures that the welfare board will soon be in the market for a movie outfit to further and supplement the work started with the candid camera.\n\nAn announcement from Bell & Howell Company states that effective October 1, Filmo 16mm. model 70-E and 70-DA cameras will be reduced in price. The quoted figures are on cameras with a Taylor-Hobson lens:\n\nModel 70-DA, 1-inch F 2.7 focusing, former price $213; new price October 1, $169.50\nModel 70-E, 1-inch F 1.5 in focusing mount, $145\nLens prices remain unchanged.\n\nThe Kodak Monitor with f.4.5 Kodak Anastigmat Special lens and nine-speed Kodak Supermatic shutter.\n\n506 American Cinematographer \u2022 November, 1939\nEastman issues two classy camera models, the Master. Featuring: noted Hollywood cinematographer finds that the Master meets all professional requirements. Automatic \"high light,\" \"low light\" scales - provide greater scale length with utmost readability; no confusing, congested numbers at either end. Extreme sensitivity - gives accurate settings in light as low as 1/10 candle per square foot. Increased brightness range - provides for measurements in extremely bright light, up to 1600 candles per square foot. Limited viewing angle - gives better pictures outdoors as well as for color and cinematography. Fluorescent . . . Tungsten . . . Daylicht - accurate settings under all types of lighting. Rugged instrument movement and hermetically sealed photo-cell assure accurate dependability. Improved calculator dial with speeds up to 800 Weston. As well as personal photographic needs.\n\"A picture is only as good as the exposure that makes it,\" said Mr. Sparkuhl. \"On the sound-stage or on location, with super-fast film or slow, I let my new Weston Master Exposure Meter guard my exposures, and know that each day's work will perfectly match the exposures of every other day's shooting. I have found the new Weston Master is engineered to cope with the most exacting problems of today's or tomorrow's professional camerawork, yet it is simple and handy enough to be an ideal companion making vacation snapshots with my Leica. For every purpose, it is the finest exposure meter I have ever used. Be sure to see the Master at your dealer's today, or write for literature. Weston Electrical Instrument Corporation, 598 Frelinghuysen Avenue, Newark, New Jersey.\" (November, 1939, American Cinematographer 507)\nBy James A. Sherlock\nPhotographs by the Writer\nSystematize your splicing, titling, and editing. Meditate and enjoy the most interesting part of movie making by editing your film in a way that each change of scene will be as smooth as possible. There are many systems for editing, titling, and splicing that can be used to rearrange scenes so that the film will have continuity and finish. If a film is shot to a working script, it is an easy matter to assemble scenes in their correct order. But if a reel contains a jumble of snapshots, more thought and care are necessary. With a little meditation, systematic editing, titling, and perhaps the addition of a few extra shots, the most commonplace film can be made attractive. A caravan holiday was recently filmed. The scenic portion of the tour was emphasized, but close-ups of the two travelers were also included.\nHoliday makers were forgotten in this film. The introduction of a comedy angle has improved it. Various scenes have been added to demonstrate that Frank allows Kay to do all the work while he eats and sleeps. These additional shots were taken at weekend picnics, using scenery that matches the original. If the scenic background was not suitable, the sky was used. When the film is projected, the audience jumps to the conclusion that these well-matched sequences were shot en route.\n\nProjection Comes First\n\nThe first step when editing is to project the film. If the cutting has been done in the camera, matters are simplified, but if the reel contains a mixture of unrelated scenes, more time must be spent at the editing bench.\n\nThe editing bench illustrated is practical and contains many helpful gadgets. The cardboard box (1) has each component labeled for easy identification.\nThis box features numbered compartments to simplify film identification. It includes a lid that closes when not in use. The numbers are cut from an office desk calendar. If a similar box is unobtainable, pill boxes can be mounted on a board and numbered instead. A pair of scissors (2) is on the working script. The liberal use of scissors should not be neglected. A Kodak film viewer (3) has a notching arrangement that permits individual frames to be selected and marked, but requires the film to pass through in the shape of a \"z.\" The splicing block (4) and rewind are made by Bell and Howell and mounted as one unit. Each spindle (7) is geared. The left-hand spindle (5) holds a Kodak reel with one side removed. This is accomplished by loosening four small screws.\nClips which attach each side of the reel to the hub. When the film is wound onto this one-sided reel, it can quickly be removed in one piece and placed in its compartment without becoming twisted. In the center of the bench is placed a piece of opal glass (6). Beneath it is a light which permits the film to be swiftly examined without putting it through the viewer.\n\nDo not unwind film on the floor. Do not unwind film on the floor. Apart from the film collecting grit and dust, it is also liable to be trodden on. Have a waste paper basket lined with a soft washing material. This will hold about 400 feet of unwound film.\n\nWhile this editing bench is practical and convenient, many variations are possible. Small geared emery wheels can be purchased at chain stores, mounted on a board about 4 feet by 1 foot, and with the emery stone removed, serves as an alternative editing surface.\nThe excellent winder. The film viewer can be substituted by a magnifying glass or linen tester held over a piece of opal glass with a light behind it. This might be placed in the center of the board containing the rewinds. The splicing block can be replaced by a Kodascope film splicing outfit mentioned elsewhere in these articles. The whole outfit would not cost \u00a31.\n\nMake Record of Each Scene\n\nWhen the editing bench that suits your requirements is complete, project the film a few times until you are sure you know each scene, then with pencil and paper, make a record of each scene, not forgetting:\n\n1. Faulty exposures.\n2. Shots that are too long.\n3. The photographic tone or color of each scene as the jump from one to the next.\nMake a habit of using white cotton gloves when editing.\n\n508 American Cinematographer \u2022 November, 1939\na  dark  to  a  light  scene  is  un\u00ac \npleasant  to  the  eye. \n4.  The  direction  of  movement,  e.g., \nfigure  or  vehicle  moves  to  right, \nleft  or  stops. \nNow  from  your  record  study  the \nscenes.  From  the  best  of  these  arrange  a \nplan  of  continuity.  If  extra  shots  are \nneeded  note  these  and  any  titles  that  are \nrequired. \nWhen  this  is  done  cut  the  film  and \nplace  each  piece  in  a  compartment  of  the \nediting  box  where  it  can  be  quickly  found. \nThe  titles  and  extra  shots  are  then  made \nand  added  to  the  editing  box  in  the  same \nmanner. \nAgain  study  your  notes  which  identify \neach  strip  of  film  and  number  them  in  the \norder  in  which  they  are  to  be  joined.  Be \nsure  you  have  a  continuity  of  shots  that \nwill  make  an  interesting  story.  The  film \nis  now  ready  to  be  spliced. \nSplicing \nIf  a  film  has  been  carefully  edited,  it \nwill  contain  many  splices,  and  unless \nThese have been skillfully made. They will spoil a good film. This is one phase of moviemaking that the amateur often neglects.\n\nA bad splice will cause the film to jump out of focus when it passes the pressure plate of the projector or will cause a breakdown in your show if the joints do not hold. In the case of Koda-chrome, unwanted bright red spots will appear if the film is wound on a take-up spool when the cement is not thoroughly dry.\n\nThe price of a splicing outfit is not a gauge to its efficiency. The Kodascope film splicing outfit contains no moving editing bench.\n\nA Kodak reel with one side removed is used for winding film. The edge of the film or diagonally across one frame. Neither method is perfect. My preference is for the Bell and Howell splicing block. It uses a dry scraper with a blade, not a file, that can be set to the correct tension.\nCorrecting the depth enables removing emulsion with a clean cut edge without interfering with the film base. The wet scraping method is less efficient, as water may spread excessively, causing spots at the joint, particularly on colored film. Both methods require all emulsion to be cleaned from the film for even fusion when cement is applied. To ensure this, the film piece to be welded should be moistened with cement and quickly wiped, leaving a rough edge for quick fusion. The less cement used, the neater the joint and the stronger it will be if left longer between pressure plates before testing. Do not strain the film.\nWhen making the first examination, wait until the cement thoroughly dries. One minute should be sufficient to leave the film between the pressure plates. The cement should have the consistency of water and be made by the same manufacturers as the film. Make it a habit to use white gloves when handling film on the editing bench. Even when splicing, keep a cork in the cement bottle to prevent evaporation and deterioration and always have a new bottle on hand.\n\nAs for splicing, if care is taken, the film should be as strong at a joint as in any other spot. The two pieces of film should be welded by cement into one piece and the sprocket holes clean of cement. A splice at right angles to the parts to wear is cheap and very efficient. Elaborate outfits are more automatic.\nAnd make the job less tiresome, but should be tested before being purchased to ensure they make a neat joint, do not damage the sprocket holes, and at the same time leave these holes correctly spaced. Make these tests with a magnifying glass.\n\nNovember, 1939 \u2022 American Cinematographer 509\n\nEducating\n\nWith A. J. Patel, F.R.J.P.S.V E.R.S.A.\nChairman Photographic Society of India\n\nWhen you talk of education to some elderly men in a country like India, you can expect the reply: \u201cEducation at this age? What for?\u201d It is really difficult to persuade a shy, modest man to go to school, even though all the facilities of time and money can be arranged easily.\n\nIndia is a peace-loving country, and has hardly thought of struggling to have more than the strictly necessary things of life.\n\nIn other words, we do not want to be uncomfortable to get the comforts of education.\nA man who has lived thirty, forty, or fifty years, earned a living, and raised a family without education finds it difficult to return to school, considering it a childish thing. It is also challenging to get the children of such individuals into schools when their fathers and ancestors before them lacked education. Neither they nor their parents have had the opportunity to see the value of education in their daily lives. It may not be their fault since no one has shown them in practical terms how proper education can help them live better, happier lives and make many things easier for them.\n\nEducation is not compulsory in India.\nUnless the fathers appreciate the usefulness of education, one cannot expect to see their children in schools. In India today, about three hundred million are uneducated. Though it may not be possible or necessary to give them a formal school education, it is necessary to educate them in a practical way \u2013 to give them knowledge that will help them live better lives and provide them with a practical understanding of their daily work. This is useful not only in increasing their happiness but also in helping to build up the present and future industries of India.\n\nAs many of my countrymen who have had the privilege of education have thought deeply about this problem, one of the gravest facing my nation today, I have felt as a photographer that motion pictures are the most effective means of achieving this practical education.\nMost likely methods for solving the problem begin by applying them. Motion pictures are interesting for they catch people off guard in a way no written or spoken word can. They are the only satisfactory way of giving education to people who cannot read nor write and do not have the benefit of a nation-wide language. India, a vast country with countless villages, lacks good transportation between them. Few of these villages possess modern conveniences such as electric power. In many districts, each village has its own local dialect, which differs significantly from that of its neighbors, creating nearly distinct languages. All in all, there are over three hundred languages and dialects spoken in India. No common language.\nAnd there is no common language. English is the official and increasingly the business speech of the nation, but the villagers could not be taught in it since they do not understand it at all. To apply visual education to India's millions, we must have projectors which can be transported easily from one place to another and which do not necessarily have to be supplied from metropolitan lighting circuits. Above all, the pictures used must not depend upon either spoken or written words to convey their meaning. All of these facts point inevitably to the use of 16mm silent films. The projectors weigh less than even the lightest \"portable\" 35mm machines, and are much less bulky. They may be carried almost anywhere. Batteries or hand or wind-powered portable generators will solve the current-supply problem.\nThe use of silent films allows conveying information to illiterate people of various tongues without written or spoken words. As Confucius stated, \"One seeing is worth ten thousand tellings!\" Here's our plan to put the project into operation. The Educational Film Institute of Germany will serve as our model. During my recent European trip, I meticulously studied this institute, which efficiently tackles the practical problems of supplying educational films and projectors to schools.\n\nGermany: 34,000 Projectors, 56,000 Schools, 2000 Subjects\nThis institute has placed 34,000 projectors in 56,000 schools and offers 2000 subjects for display on these projectors. In numerous cases where the school cannot afford to purchase the necessary equipment, the institute provides it.\nThe institute provides films with a nominal charge to pupils who benefit from them. A fee of approximately ten cents is charged for the first child in a family; the second pays half-fee, while the third does not pay. The proceeds from these charges are used partly to pay for the equipment furnished and partly for the films supplied. Every school is shown 150 to 200 different films within a year.\n\nThe films are made by professional producers working under the direct supervision of the institute. In many cases, they grow from ideas suggested by the teachers who use the films or by the institute's own educators.\n\nTreatment and presentation are supervised by educators. The subjects cover an extremely wide range, from formal educational subjects to purely practical things like household matters.\nNecessities and factory or field work. Returning to India, we feel that we can apply much of this plan to our own immediate needs. We will start with a limited number of projectors and expand as fast as is practical.\n\nBefore we are able to produce all our own (Continued on Page 519)\nNovember, 1939 - American Cinematographer\nTF-IBN-WOe Movie Master,\nRELY ON\nCINE-KODAK FILM\nFor More Brilliant, More Satisfying Home Movies\n\nHere are four different kinds of 16 mm. Cine-Kodak Film; three 8 mm. Cine-Kodak Films. Within those varieties film-wise, movie makers find the answers to even the most diverse problems. They know that they can depend on the uniformity of Cine-Kodak emulsions; they rely on the scientific processing, which, at no extra cost, complements their care in making the exposures.\n\nThe movies worth making are made on Cine-Kodak Film.\n\n16 mm. Cine-Kodak Films\nSUPER-X offers superb photographic quality, fine grain, ample speed, and remarkable latitude. Available in 50-ft., 100-ft., and 200-ft. rolls, and 50-ft. magazines.\n\nSUPER-XX provides you with all the speed you need, along with excellent general quality. Available in 50-ft., 100-ft., and 200-ft. rolls, and 50-ft. magazines.\n\nKODACHROME, available in two types for daylight use and Photoflood work, is the full-color film beyond compare. Available in 50-ft., 100-ft., and 200-ft. rolls, and 50-ft. magazines.\n\nSafety \u201cPan\u201d combines quality and economy for use where the special capacities of the other films are not required. Available in 100-ft. rolls only.\n\n8 mm. Cine-Kodak Films\n\nSUPER-X, with its high speed, brilliance, and fine grain, is the new favorite for indoor work or for outdoor movies, stopped down for maximum definition.\n\n\u201cPan,\u201d the original \u201cEight\u201d film, still offers beautiful quality and wide latitude.\nAttitude and basic economy. Kodachrome, in its two types, gives 8 mm. movie makers full and facile command of the whole world of color.\n\nGood news for 16 mm. movie makers. The price of the 100-ft. roll of Super-XX has been reduced from $7.50 to only $6.75, the 50-ft. magazine from $4.25 to $4.\n\nEastman Kodak Company, Rochester, NY.\nNovember, 1939 \u2022 American Cinematographer 511\n\nDensitometry and Its Application to Motion Picture Laboratory Practice\nBy Emery Huse and Gordon Chambers\nMotion Picture Film Department, Eastman Kodak Company, Hollywood, California\n\nIn Three Articles\u2014Article III\nC. Physical Densitometers\n\nThe physical densitometer, in substituting a light-sensitive cell for the human eye, offers promise of greater repeatability of density measurement. Continuous use of a visual densitometer results in eye fatigue and, over time, inaccuracies.\nA period of time, such monocular observation results in a weakening of the convergence ability.\n\n1. Early physical densitometers.\nA densitometer using a Case Thalofide cell was described by Schoen in 1923. This instrument was constructed for a special purpose and had only a limited density range. The electrical output was very low, and a high sensitivity galvanometer was required. The light source was moved to and from the cell surface to obtain a constant cell output, the lamp position being a measure of density. This cell tended to show drift due to slow changes in internal resistance. With the advent of more stable cells, this apparatus was dismantled.\n\nThe first physical densitometer used by the authors, which was in 1926, was a selenium cell device made for the British Photographic Research Association. A movable mirror allowed the measurement of density.\nMeasuring beam through density or comparison beam through a wedge to be presented to the cell which was connected to a galvanometer. When equal deflections were obtained in the two beams, the density was determined by the setting of the previous calibrated wedge. This instrument was in many ways the counterpart of the Eastman visual densitometer. The density range of the BPRA instrument was limited by the cell sensitivity and its operation was slow.\n\nInstruments in Current Use.\na. Deflection Type.\nIn 1935, F. L. Eich of the Paramount West Coast Laboratory described a deflection type physical densitometer in which a barrier type cell was used. This original instrument continues to be in daily use. The barrier cell has several advantages. The cell is stable, has a fairly high output in microamperes, and works best into an output.\nA circuit with very low impedance is used. This eliminates the need for an amplifier and its complications. The density range spans from 0.0 to approximately 1.0, but this range can be extended through increased scale length or the addition of suitable matching networks between the cell and the meter. The original model employed a Weston Photonic cell, model 440 Weston meter with a 30 microampere full scale deflection, and a storage battery to provide a steady current to the lamp. In a deflection-type densitometer, it is crucial that the lamp current supply be highly stable. In similar instruments produced by C.S. Franklin, a Raytheon regulator of sufficient capacity is utilized for this purpose. Several enhancements in these Franklin instruments over previous ones of the same kind have not been disclosed through publication.\nIn 1937, Lindsay and Wolfe described a constant deflection type densitometer having a range from 0.0 to 2.7. In this instrument, the light beam is interrupted by a rotating sector, or \u201cmechanical light-chopper,\u201d between the source and the photocell. The cell output, with proper impedance matching, is fed to the grid circuit of a multiple stage amplifier. A logarithmic gain control in an intermediate amplifier stage is used to maintain the output of the final stage at a constant value, and the gain setting is a measure of density. Suitable key-switch controlled fixed networks divided the total range into three equal parts having slight overlaps.\n\nb. Null Type.\n\nThe null type of physical densitometer, where the outputs from the test and comparison beams are simultaneously opposed to produce zero deflection of a galvanometer, overcomes most of the objections to the constant deflection type.\nThe deflection type in this variation has the advantage of canceling out variations in the light source, as both beams are affected equally. This also makes it possible to dispense with an amplifier. In the constant deflection type densitometer, the amplifier problem is lessened due to its potential non-linearity, but it still requires constant voltage and filament supplies, which are not insignificant issues.\n\nA recording densitometer based on the null principle has been described by Tuttle [15], who, along with Russell [1], also reported the results of a year's use of the instrument. One of these instruments has been in routine use for over a year in the Motion Picture Film Department Laboratory in Hollywood. A great deal of preliminary work was done on this instrument during its design by Tuttle and Hiatt [*]. The conditions set for its operation were:\nTable III\n\nDensity as Evaluated by Various Densitometers\n\nPhotocell Opal Opal Heavy Medium Light Sphere Sphere\n\n(Image in Photocell Contact (Base to Opal)) Flashed Opal Flashed Opal Flashed Opal (Emul. to Sphere) (Base to Sphere) Contact with Element Quartz Rod Printing\n\nThe scanning area of the silver deposit, which is slightly less than seven millimeters in diameter, is immediately adjacent to the cell surface, which is forty-five millimeters in diameter. The emulsion side of the film is placed toward the cell surface, which is protected by a thin layer of plastic.\n\nLight flux from the monoplane filament has been applied in the early part of this paper as necessary for the measurement of true diffuse density in the design of Tuttle\u2019s instrument. Unique mounting of the barrier type cell is used. The scanned area of the silver deposit is in close proximity to the cell surface.\nThe source is divided by a beam splitter between the test and comparison fields. The constant beam in the comparison field is opposed to a double logarithmic mechanical diaphragm moving in a collimated beam in the test field to establish balance. In the visual Eastman Densitometer, all of the \"wedge\" is in position when no density is in the test field. The introduction of an unknown density is offset by decreasing the density, in this case increasing the width, of the mechanical wedge. The cell outputs from the two beams are opposed onto a marine galvanometer at a fixed point, zero deflection, and the unknown density is determined by the position of the mechanical wedge. In this instrument, additional facilities are provided to record density values successively on graph paper by the discharge of a recorder.\nThe spark perforates the paper. The graph paper's scale is arranged so that the step interval along the abcissa, the Log E axis, equals the length of the step on the strip. The recording densitometer is specifically designed to read sensitometric strips exposed on an Eastman lib sensitometer. Due to the size of the scanned area, it cannot measure sound tracks. Like the Eastman Densitometer of the visual type, the automatic recording densitometer is secondary in nature, with the mechanical wedge requiring calibration against a standard. The instrument used for this calibration was described by Jones. Comparison of density readings obtained on the automatic densitometer with results obtained on the same film using an Eastman visual densitometer indicates that visual readings on high densities are higher.\nThe authors feel it necessary to establish international standards for density measurement due to discrepancies. Several papers on physical densitometers have been published, which readers constructing such instruments are recommended to refer to, particularly Tuttle and Hiatt's paper for rigorous conditions on diffuse density measurement.\n\nStandardization:\nIt is reasonable for diffuse density values of photographic deposits to represent contact printing characteristics. Therefore, in standardizing a method for density evaluation, the optical system should be capable of collecting all light.\nthe emerging light from the sample was measured. Tuttle and Koerner described the results of a number of experimental determinations of density. Careful photometric tests were made to measure the contact printing density, and these values are related to measurements made with an integrating sphere. Results from an opal glass densitometer were also used, in which a series of opals of various diffusion characteristics were employed. In Table III, reproduced from the mentioned paper, are given the results showing the variations in density obtained with the various measurement systems. Examination of these data shows maximum variations between various densitometers of the order of 20%. Based on these results, the authors proposed the adoption of the integrating sphere as a primary instrument in a later paper.\nNotes on Claude W. Cadarette, Founder of Los Angeles 8mm Camera Club\n\nThe emulsion on the film contains powdered silver salts suspended in it. In development, these salts are transformed into metallic silver, the density of this silver being directly dependent on the amount of light that has fallen on it and the length of time it has been allowed to act on the silver salts.\n\nIn photography, we use only the light reflected from our subject. Consequently, we must consider the reflective power of our subject and the color of the light striking the emulsion. The more important factors that must be considered in photography are exposures and lighting. Your picture, as it is viewed in black and white, is made by the silver salts being exposed to light and then developed into metallic silver, with the density of the silver directly related to the amount and duration of the light exposure.\nThe variation of tones from black to white in a picture forms the subject's image through contrast. To achieve a true reproduction, the film must be exposed to ensure sufficient contrast in all scene portions. Only correct exposure can capture all necessary tones, as overexposure destroys delicate tones and detail. Intensifying this type of film is not satisfactory as developing agents have dissolved the metallic silver, and contrast cannot be increased where detail does not exist. Underexposure of film causes:\nPanchromatic films prevent sufficient light from reaching the emulsion, resulting in lost detail. This issue is similar to overexposure, as the reflected light from details hasn't acted upon the emulsion effectively enough to produce tone variation. Panchromatic films boast a wide range of light sensitivity, and enhanced processing methods ensure maximum correction for exposure miscalculations.\n\nShould you overexpose or underexpose your film by a full stop, the intricate processing machine will rectify this error, restoring the exposure to its normal stop.\n\nLight can be deceiving to the eye, and its effectiveness or actinic value can alter in a brief period. Seasons, latitudes, and hours of the day influence the actinic value of light, providing a misleading impression of its strength.\nEarly morning or evening light may appear bright to the eye, but its photographic value is less than a noon sun's light. Therefore, exposures in early morning or evening must be increased to adjust for this lower actinic value. Light is greatly filtered when the sun is in a low position, causing a predominance of yellow and red rays during these hours. The loss of the ultra-violet rays of light at this time lessens the speed of the film emulsion.\n\nAn early morning scene may call for an opening of f/5.6, but at high noon, the same scene may require the smaller opening of f/11. We may also film the early morning scene at f/8, but we must operate the camera at a slower speed.\n\nIf the camera is operating at 12 frames a second, the shutter of the camera remains open longer than when it is at a faster speed.\nThe camera operates at 16 frames per second. This slower shutter speed allows light to act on the emulsion for a longer period, increasing exposure. The only advantage this procedure adds is a smaller f-stop of f.8 instead of f.5.6, increasing the sharpness of distant objects in the scene.\n\nLight during summer months is approximately two-thirds stronger than winter light. The value of light in June is at its maximum for six hours of the day, but in December, its maximum strength is only a period of four hours and one-third as intense. It is therefore very difficult to accurately determine the exposure of a scene when confronted by many conditions that affect light values, and it is strongly recommended to use a reliable light meter for all outdoor and indoor photography.\n\nProper exposure depends upon the light.\n1. Hour of the day.\n2. Geographic latitude of your location.\n3. Season of the year.\n4. Speed of the film used.\n5. Color of the light reflected by the scene.\n6. Type of light source (sun or artificial light).\n7. Speed of the film in the camera.\n8. Speed of the camera shutter.\n9. Size of the lens opening.\n10. Brightness of the reflected light.\n\nIn photographing small areas, the exposure is taken from the ground and not the sky. The photo-electric meter is pointed directly at the subject to be photographed, and the opening to be used is calibrated on the dial. It measures the amount of light that is reflected from the subject, which is the same amount that penetrates the camera lens.\nThe reading of the meter is significantly affected. Since the sky photographs white, the importance of exposing the ground area is greater. Therefore, the meter is tilted down at a thirty-degree angle to exclude the sky. This practice should be implemented when photographing with a filter. Seascapes or views consisting of vast expanses of sky and water will appear flat on the screen due to insufficient contrast. The meter will register the correct amount of light for the exposure setting, but the picture will be improved if you close the diaphragm one stop to increase the contrast of the darker objects and lighter areas of the scene when using dark foregrounds of arches, trees, or dark areas to frame. (Seltzer and Basil, Direct and Photo1, for WPA, American Cinematographer, November 1939)\nProduced by the motion picture production unit of the WPA Federal Art Project Photography Division, \"From Hand to Mouth,\" an educational film on the causes and prevention of bacillary dysentery, had two simultaneous showings at the New York World's Fair. Its presentation at the Medicine and Health Building augmented its current release at the fair's New York City Building.\n\nDirected by Leo Seltzer and Elaine Basil, and photographed by Mr. Seltzer, supervisor of the Motion Picture Production Unit, \"From Hand to Mouth\" was sponsored by the Bronx Hospital. Dr. Joseph Felsen acted as medical and scientific collaborator.\n\nThis two-reel film presents a new direction in health education, making available to the general public information pertinent to bacillary dysentery, and showing what medical science is doing for its prevention.\nThe community at large can take steps to eradicate its causes.\n\nDid not believe in signs.\n\nThese two young Federal Art Project camera artists encountered slum district-tenements, new low-cost housing developments, public markets, and pushcart stalls, cafeterias, and the waterfront.\n\nThey discovered a group of youngsters in an East River \"swimming hole,\" splashing about right under a sign that read, \"Polluted Waters: DO NOT SWIM.\"\n\n\"Regarding our work,\" said Mr. Seltzer recently, \"most of our productions have been on 16mm. This is to permit the most widespread utilization of these educational films in schools, museums, health centers, hospitals, etc. The fact that sponsors have in many cases a very limited budget for film production.\"\nProduction makes it necessary, if the film is to be produced at all, to shoot it on \"Miss Basil and I are currently working on a three-reel 35mm. sound film for the New York City Civil Service Commission. This film is intended for showing at the New York World's Fair in 1940, in schools, citizens' groups and other interested organizations. It will therefore also be released as a 16mm. as well as a 35mm. film.\"\n\nLeo Seltzer was born in Montreal, Canada, 29 years ago. His technical training in high school, in college where he took courses leading toward an engineering degree, was supplemented with a number of years in art school. After two years at college, in 1931, he planned to follow a line of work which combined his two major interests, art and technology. This synthesis, he felt, could be best achieved in photography.\nHe did not arrive at his career choice in a purely mechanical manner. For as far back as he can remember, he owned and used a camera. Elaine Basil and Leo Seltzer worked on 16mm. productions for use in schools, museums, health centers, hospitals, etc. At present, they are making a three-reel 35mm. sound film for the New York Civil Service Commission, which will also be released as a photo.\n\nHis first \"real\" work came when he began making motion pictures as a freelance news cameraman in 1931. He describes this work, which formed his major interest for the next four years, as \"social documentary newsreel photography.\" In this activity, he did extensive work as cameraman, director, and editor.\n\nIn 1932, he took a trip through the Middle West and South with Sidney.\nHoward, the playwright, for the purpose of collecting material for a film on agricultural workers in these sections of the country. He has made numerous films of this type. One, in 1933, received favorable comment for its manner of dealing with the life and work of longshoremen on the New York waterfront. His work is characterized by the selection and illustration of pertinent material, as well as a unique point of view. He believes that there is hardly a subject which cannot be presented in an engaging way.\n\nNovember, 1939 \u2022 American Cinematographer 515\nMaking Newsreel of Family\nTanks for Thanksgiving\nBy C.J. Hubbell\nWest Coast Manager M-G-M\u2019s \u201cNews of the Day\u201d\n\nThis year many of us are going to have two Thanksgiving Days \u2014 one the traditional last Thursday of November, the other a week earlier, set aside by Presidential proclamation.\nA proclamation. A photographic journal is no place to delve into the political and other controversial aspects of that question: but doubling up on the holiday ought to give the Thanksgiving moviemaker a break. With two Thanksgiving Days, it should be much easier to turn out a really complete film of the family's Thanksgiving celebration \u2014 no matter which day you celebrate!\n\nThis is one season when the newsreel cameraman and the home-movie filmer have plenty in common. Newsreel crews everywhere count Thanksgiving as an every-year \u201cmust\u201d subject, for at that season no newsreel issue is complete without its turkey day story.\n\nIn the same way, most home-movie addicts find themselves under orders from their better halves to film the big family get-together. Both the newsreeler and the amateur are in the same situation.\nboat: They have to make a story from hackneyed material and make it interesting to disinterested audiences. Examining the average material available to both of them, we find that they have similarly basic story ingredients. Newsreel methods can be beneficially applied to making the home film.\n\nLet's See What's What\nLet's examine the basic material.\nHoliday - big family gathering - food, and lots of it (especially turkey!); often the menfolk take in the local football, giant - and finally that overstuffed feeling, frequently accompanied by distressed tummies.\n\nThere's your story in a nutshell. Its basic elements are tried and true; they've been serving newsreel crews faithfully for almost thirty years without growing stale - and if you dress them up in becoming cinematic clothes, they'll serve you too.\nWhat's more, if you give a little thought to continuity and preparation, they'll give you a picture that will not only please the family group, but one that will amuse outsiders as well. By way of introduction this year, we have a chance to depart from the time-honored formula by stressing the dual holiday angle. Since this magazine is supposed to be politically neutral, I'll leave the how of this treatment up to you and your own political preferences; either way, you'll find plenty of angles on which to work! Once we're into the picture, why not a little advance flash of the family plans? You can have shots of Mother sending invitations and planning her feast \u2014 pricing turkeys in the butcher's shop and checking up on the capacity of the family roaster. Father can be shown studying football schedules and getting the tickets.\nTo the big game. The children can be shown preparing in their own way \u2013 Johnny, perhaps, in training for record-breaking table performances, big brother Bill training for the game itself. Ovens are important.\n\nAll of this brings us to the day itself. Now we have Mother\u2019s preparations for the feast. Getting the table set \u2013 the pies and pudding prepared \u2013 and of course, the turkey entering the oven!\n\nThe next sequence can treat the preparations more personally: the family getting spruced up for company. Father's protests at being urged out of his slippers; the boys arguing over the bathroom; the feminine members putting the last touches to make-up and coiffure.\n\nIf you have a family \u2013 and an observant eye \u2013 you can develop abundant natural comedy relief from these suggestions. Simply keep your eyes open during the next few weeks!\n\nAnd here, the relatives and guests arrive.\nBegin to troop in. Since most of us are likely to be busy then, the simplest sort of newsreel treatment is best for this. Show the folks arriving and being greeted; then take a firm grip on the rabbit\u2019s foot and go a-gunning for candid shots.\n\nAt any rate, if you want to have an interesting picture, avoid making the conventional \u201cposed\u201d group picture of the family assembled. Individual, candid closeups are better; they are more interesting and far more characteristic.\n\nThen, if the family is football-minded, comes the trip to the big game. After that, the feast, highlighted by the demolition of the turkey.\n\nBy the time this is over, and the diners recover, goodbyes are in order. But by that time, too, it is usually too dark for good photography, unless you want to go to the trouble of staged action with lights.\nMost of us are too tired and full to be camera-minded. Much filming beforehand. This looks like a huge day's filming, doesn't it? It would be, too, if you had to do it all at once. But the fact of the matter is that a surprising lot of it can be done before and after the actual holiday, and the scenes that must be made then can be made almost painlessly, if you plan them in advance. All of your introductory scenes can be shot at any convenient time before the holiday. All the business about preparations \u2013 doing marketing, selecting the ticket, and getting football tickets, and so on \u2013 can, of course, be done ahead of time. And a surprising lot of the more detailed shots of getting the dinner underway can be as well. Many housewives like to bake the pies, make the hard-sauce, and even prepare the turkey for roasting the day before.\nMinimum worry for the big day itself. This makes filming easier, and many families are likely to celebrate two Thanksgiving-days this year, so opportunities will be doubled! This applies to the football game sequence as well. Since these games were arranged a year or more ago, when everyone thought that Thanksgiving, 1939, would fall on November 30, they were set for that date \u2014 and though many of us will eat our turkey on November 23, the pigskin will get kicked around on the traditional date. So there's another less sequence to film while we're full of turkey. And \u2014 whisper it softly \u2014 if you're hosting a big party to the game, or if you find the crowds are too big (and your seats too bad) to permit good camerawork, you can often double shots of some earlier game \u2014 or even last season's game \u2014 in your picture.\nIf you're an economical family preferring to enjoy Thanksgiving football in comfort via radio, Pacific Labs provides a complete 16mm service. Their sound recording rooms are equipped with instruments to record directly on film or acetate discs, sound cameras for synchronous recording, and a sound truck for location work. The processing department features air-conditioned rooms with absolute temperature control for developing solutions. The twelve-tank developing machine, with removable stainless steel tanks, has a capacity of 20,000 feet per day. The first tank offers a soak bath to eliminate any air bubbles from the film before it enters the developing solution.\nThere are three tanks of developing solution, followed by a short stop tank, one rinse, three hypo fixing baths, and three fresh water spray baths. The finished product is absolutely free of water marks and there are no roller scratches under the sound track area. Here, the photographer can ask for definite standards of processing and be assured of that result. Densitometry and sensitometry are employed for testing, and the operator in charge is one of the able technicians in the country. Production of sound track, composite printing, duplicating negatives, editing, cutting, etc. are all part of the service. The producer or advanced amateur requiring such service can find here complete 16mm. equipment and can place the responsibility for all technical work with one establishment.\n\nAgfa Ansco Providing New Greeting Card Equipment\nAmateurs planning to make photo greetings can find new equipment here.\nAgfa's new Christmas card outfit this season offers a simplified solution for preparing and printing combination negatives. The outfit includes six 5x7-inch masks made on Reprolith film, each featuring the card design and message, as well as a 2x3-inch clear film rectangle for personal snapshot negatives. Guides simplify centering of standard 414 x 5.14-inch greeting card stock, and instructions are provided for mask use and imprinting personal signatures. Special attention was given to mask construction for good contact with paper and design to ensure a pleasing relationship between picture area and ornamental decoration.\nThe new Agfa greeting card outfit is available at photographic dealers for $1.69. Special deckled-edge photographic paper in the 414 x 514-inch size of Agfa Cykon Kashmir White is available at the regular price of $.45 per two-dozen packages, $1.10 per 14 gross, $2 per gross.\n\nA New Low-cost Plan for the Finest Results\n\nFor people who now use silent films or Sound-on-Disc with nothing more than a synchronous motor drive for your present camera, you can obtain the finest professional quality 16 mm sound films at prices which are reasonable enough to surprise you. If your camera is a Cine Kodak Special, you need only the B-M Synchronous Motor Drive illustrated above. For other 16 mm cameras, there are other makes of synchronous motors available. In either case, here's how it's done.\nYou film your picture at synchronous speed. Edit it as you wish to have it appear. Write the script and select any music required. Then merely send this material to one of the sound-on-film laboratories listed below for your sound recording. Each is equipped with B-M sound recording apparatus and is qualified to produce theatre quality results. You can specify treatment of your film to be as simple or as elaborate as you may wish.\n\nIf you are now using silent pictures, you\u2019ll be surprised to find that a sound-on-film recording costs little more than a first-class professional titling job.\n\nIf you are now using sound-on-disc, the advantages of this method are even greater. First of all, with sound-on-film, it is easier to obtain perfect synchronization. The ease of projecting sound-on-film is an additional advantage.\nWith sound-on-film, there are no turntables to watch or adjustments to make continuously. Film does not deteriorate with use but maintains its high level of quality for any number of projections. To enjoy professional quality sound on all your future pictures, order your synchronized motor now or write for additional information.\n\nCorporation: Berndt-Maurer\n117 East 24th St., New York, NY\n\nWrite to any of the four laboratories listed below for more detailed information about how to prepare your material and to obtain estimated costs.\n\nEastern: Sound Masters, Inc., 1560 Broadway, New York, New York\nSpot Films, Inc., 339 East 48th Street, New York, New York\nMiddle West: The Calvin Co., 26th & Jefferson, Kansas City, Missouri\nRoger Sumner Productions, 327 E. Green St., Pasadena, Cal. November, 1939 American Cinematographer 517\n\nAutomatic Developing Machine\nComplete in Every Detail\nHollywood users can attest to machine's superiority. Users all over the world can recommend this developing machine.\nThis Practical Machine Can Be Used in Any Climate\nEasily Installed \u2014 Quick Deliveries\n\n\u2022 Sensitester \u2014 For Light Tests and Sensitometric Strips\n\u2022 Sound Recording Systems\nArt Reeves\n7512 Santa Monica Blvd.\nCable Address: ARTREEVES\nHollywood, California, U.S.A.\n\nLap dissolves and other theater-movie effects which require backwinding of film in the camera can now be made with Filmo 8mm. equipment.\n\nThe lap dissolve rewind attachment recently announced by Bell & Howell.\nAny Filmo double eight camera can be installed with the new rewind attachment, either before or after an Arrow lap-dissolve rewind attachment on a Filmo turret. This new Filmo 8 rewind counts frames one by one as they are rewound in the camera. Bell & Howell will soon make a special fader available to work with the new rewind. In the meantime, owners of Filmo 8 cameras with the new rewind attachment can improvise fading methods using the lens diaphragm. Film-Weld is on the market and will soon be available to amateurs. Larry Strong, Inc., 1241 South Wabash avenue, Chicago, is shipping Film-Weld, the successor to Film Cement, to professional users. The company is not quite ready to contact the amateur field yet, although that plan is already determined. The fluid is for nitrate, acetate, and all other films.\nThe film comes in bottles for theatre, exchanges, and studios in sizes of 1 ounce, a special theatre size of 4 ounces at 50 cents, a half pint, and a pint. The price of the latter is $1.25. It is not a cement in the ordinary sense. Instead, it is clear as water and flows freely. It is claimed to make a splice from 0.0005 to 0.0010 inches thinner than any film cement and to create a splice that won't pull apart. It may evaporate, but so slowly that it hardly matters. It does not lose strength when left exposed to air or thicken. It does not harm clothes or fingers or cause film to buckle.\n\nSplices made with a faulty splicer. See Page 508.\nAmerican Cinematographer, November 1939\nMake that\nCinematics\nScreen a Daily\nReg. U.S. Pat. Off.\n\u00ae Quickly Sets Up Anywhere\n\u2022 Folds Compactly for Storing\n\u2022 Da-Lite Glass Beaded Surface\nFor brighter pictures, choose Challenger screens. The Challenger can be set up instantly anywhere, without clearing books or bric-a-brac from tables or confusing preparations. It is the only screen with square tubing in the tripod and an extension rod to hold the screen in perfect alignment. It is the only screen that can be adjusted in height by releasing a spring latch and lifting the extension rod, with no separate adjustments needed for the case. For your vertical Kodachrome transparencies, select a Challenger with a square screen surface. Look for the name Da-Lite. Prices range from $12.50 for 12 sizes, including square shapes, up to $2.00 for other Da-Lite Screens. See your dealer or write for literature.\n\nDa-Lite Screen Co., Inc.\nDEPT. MAC, 2723 N. Crawford Ave., Chicago, IL.\n* Prices slightly higher on Pacific coast.\nEducating 300,000,000 with 16mm. Movies, we will naturally show many of the educational films already produced in America and Europe. We will, of course, work with 16mm. silent films, and with each film, we will issue a booklet describing the film, so that the projectionist can give any explanation necessary for his particular audience.\n\nWherever possible, we hope to avoid the use of titles and keep things strictly pictorial and visual.\n\nEducational \u2014 But Entertainment: There seems but one serious drawback to this plan. That is, since our audiences must come voluntarily, strictly educational films are likely to be too dull at the outset.\n\nTherefore, we plan to sugar-coat the pill. We will begin by producing films of our own which will combine educational value with entertainment.\nThey will tell an interesting and simple story in the film, providing practical information that will benefit the audiences. It's important to make our own films where appropriate, allowing us to apply the information more directly to the lives and understanding of the audiences we aim to reach. For example, American miners would not appreciate a film on safety methods if it was enacted by Turks or Russians, but would if it was by Americans like themselves. Similarly, Indian miners, stonecutters, farmers, or metal workers would learn modern methods more quickly if presented in a similar way.\nA little playlet dealing with people like ourselves, in surroundings they can understand, rather than if it dealt with foreigners in strange surroundings. Naturally, such films could and would deal more directly with some of the things peculiar to India, and perhaps unknown abroad.\n\nWe want to accomplish being able to make each audience member think, \"Why, this person is a man just like me, doing the work I do in the same sort of a village. He did things much the way I do \u2014 and see how he got hurt and made his family suffer.\" And that neighbor of his did things differently \u2014 and see how much happier he is because of it. Maybe I could make things better for myself if I tried doing my work that new way!\n\nThe question of educating three hundred million people can be simplified,\nIn the beginning, solutions will be small and will deal with the simplest things first. They will build a foundation upon which much can be built as time goes on. I am confident that all of my country men who want to see our country advance would assist in one way or another in starting this enormous task. Great help is also expected from the many institutions throughout the world which have already done so much for visual education and have expressed friendly sentiments towards India and her people. Ultimately, we will see great results from turning 16mm movies to the task of helping to teach India's three hundred million.\n\nAmerican motion pictures are meeting with less competition in Peru this year than was the case in 1938, according to a report to the Department of Commerce.\nThe report from American Commercial Attache David M. Clark in Lima stated that Mexican-made pictures faced little success in Peru during the season. The quality of American films shown that year was superior to that of 1938, resulting in good income returns.\n\nNovember 1939, American Cinematographer 519\n(Continued from Page 513)\n\nDensitometry and Its Application\n\nThe use of densitometry can be calibrated. Sensitometric strips measured on an integrating sphere can be used as sub-standards for this purpose. It is shown that the variation in graininess of various films will have very little effect on this. A calibration made using a series of densities on positive film will make it possible to measure all other materials on such a calibrated opal glass densitometer within an error of .02.\n\nThese results all point to the final calibration process.\nThe solution to the problem of density values obtained on various types of densitometers agreeing and a basis will be established for the calibration of new types constructed in the future.\n\nWest Coast Laboratory\nMotion Picture Film Department\n\n7. Capstaff, J. G., and Greene, N. B: \"Schoen, Arthur L: J.O.S.A. and R.S.I,\"\n11. Lindsay, W. W. Jr., and Wolfe, W. V: \"Tuttle, Clifton, and Russell, M. E: Tuttle, Clifton, and Hiatt, B. C: Jour. Jones, Loyd A: J.O.S.A. and R.S.I,\"\n'*  Tuttle, C., and Koerner, A. M: \"Tuttle, C., and Koerner, A. M: Jour.\n\nSome Notes on Exposures for Beginners (Continued from Page 51 U)\n\nFor good composition, foregrounds will mislead your meter. The darker areas do not affect the light-sensitive plate in the meter and the exposure should be based on mid-tones.\nThe larger opening indicated by the meter would result in overexposure of the background in the picture, leading to unsatisfactory results on the screen. In states or localities covered with snow during winter months, other compensations are necessary to ensure correct exposure. The glare of the snow causes the meter to indicate a smaller opening for the lens, while the light may be weak and low in actinic value. Winter sunlight is only one-third the intensity of summer sunlight, so the lens opening must be greater. Shooting at the opening indicated by the meter would represent the value of light reflected by the white snow only, and darker objects would be underexposed. To allow for better exposure, it is safer to open the lens one stop more than the indicated opening.\nThe meter indicates. The camera operates normally at 16 frames a second. But when we film at greater speeds of 24, 32 or 64 frames per second, the film travels through the camera gate faster and receives less exposure per frame. We can let the meter compensate for this variance in film travel and take our readings directly from it.\n\nIf you are shooting at 16 frames a second with a camera that has a shutter speed rating of 1/40th of a second, the shutter rating is changed to 1/80th of a second when the camera operates at 32 frames a second.\n\nStatement of ownership, management, circulation, etc., required by the Acts of Congress of August 24. American Cinematographer, published monthly at Los Angeles, Calif. For October 1, 1939.\n\nState of California\nCounty of Los Angeles, Calif.\n\nBefore me, a Notary Public in and for the\nThe following is a true statement of the ownership and management of the American Cinematographer publication for the date shown above, as 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:\n\nPublisher: American Society of Cinematographers. Inc., Los Angeles, Calif.\nEditor: George Blaisdell, Los Angeles, Calif.\nManaging editor: George Blaisdell.\nThe owner, if a corporation, must state its name and address, followed by the names and addresses of stockholders owning or holding one percent or more of total stock. If not owned by a corporation, the names and addresses of individual owners must be given. If owned by a firm, company, or other unincorporated concern, its name and address, as well as those of each individual member, must be given.\n\nThe American Society of Cinematographers, Inc., Los Angeles, Calif.: John Arnold, President, Los Angeles, Calif. No capital stock.\n\nThe known bondholders, mortgagees, and other security holders owning or holding one percent or more of total amount of bonds, mortgages, or other securities are: (If there are none, so state.) None.\n\nThe two paragraphs above, giving the owner's information.\nThe names of the owners, stockholders, and security holders include not only the list as it appears on the company's books but also, in cases where the stockholder or security holder appears on the books as a trustee or in any other fiduciary relation, the name of the person or corporation for whom such trustee is acting. These two paragraphs contain statements embracing my full knowledge and belief as to the circumstances and conditions under which stockholders and security holders who do not appear on the company's books as trustees hold stock and securities in a capacity other than that of a bona fide owner. I have no reason to believe that any other person, association, or corporation has any direct or indirect interest in the said.\nCameras and their shutter speeds:\n\nGeorge Blaisdell, Editor.\nSworn to and subscribed before me on the 6th day of October, 1939.\n[Seal] JNO. A. Ernst,\nNotary Public in and for the County of Los Angeles,\nState of California. (My commission expires July 24, 1942.)\n\nEastman:\nZeiss:\nStewart-Warner:\nKeystone:\nBell and Howell:\nPaillard-Bolex:\nEmel:\nDitmar:\n\nShutter Speeds:\n1/30 second - Cameras with normal shutter ratings of 1/30 second at 16 frames a second\nFrames a second Shutter Rating\n1/40 second - Cameras with normal shutter ratings of 1/40 second at 16 frames a second\nFrames a second Shutter Rating\nCameras with normal shutter ratings of 1/50 second at 16 frames a second Frames per second Shutter rating Films have a different emulsion speed when used with artificial light. This is due to the fact that artificial light is low in blue ray content, resulting in a lower actinic value. This lower value of light can be compensated by an adjustment of the meter dial. The meter readings are taken in the same manner as for outdoor filming, but caution should be taken that no light is shining in the meter. All lights used for backlighting should be turned off while the reading is taken, as they do not figure in the exposure from the camera's point of view. For photographers who have not yet purchased a meter, the exposure tables included in the film packages will act as a good guide for exposures.\nSeltzer and Basil \"Direct and Photograph for WPA\nInteresting and dramatic films are produced by Seltzer through the medium of film, whether documenting news events or illustrating highly technical industrial processes.\n\nFilms on Plane Engines (Continued from Page 515)\nIn 1935, he made an educational film about the manufacture of aircraft engines in the Wright Aeronautical plant. This film was later used to teach other workers in this specialized industry.\n\nDuring the same year, he also produced a series of medical films in natural color at Mount Sinai Hospital. One educational motion picture filmed an experiment in bloodless surgery. Another dealt with surgical procedures in lung operations.\nSince his employment by the WPA Federal Art Project in New York City, Seltzer has photographed and directed a film on the Technique of Fresco Painting, demonstrating the entire process of planning and painting a mural in fresco. Copies of this film have been allocated by the Federal Art Project to a number of museums throughout the country and have been seen with great interest by audiences in schools, colleges, and cultural groups in hospitals, orphanages, clubs, unions, and other organizations and institutions.\n\nThe completion of this film saw the establishment under the Photography Division of the WPA Federal Art Project of an official Motion Picture Production unit, headed by Leo Seltzer. With additional facilities and personnel, a definite program of production of sponsored educational films was started.\n\nBoth he and Miss Basil recently have\nI have cleaned the text as follows:\n\nA film has been produced for the New York Civil Service Commission, depicting the fight for good government in New York City and the functions and aims of the city's civil service merit system.\n\nOnly Camera Owner (Miss Basil) was born and raised in Detroit. Her childhood interest in the theater led her to New York, where she earned an acting scholarship for the Theater Guild School. However, her concept of theater was repertory, where all aspects of the theater could be explored, and a continuity of development was ensured.\n\nBecause of her belief in community group theater activity, she worked in and helped establish the Studio Players in Cambridge, Mass., and later the Actors' Repertory Theater in Atlantic City.\n\nWhen the Atlantic City group required photographs to illustrate their work and the plays being presented, Miss Basil provided them.\nShe was assigned to take these pictures, as she was the only person in the group who owned a camera. After the successful photographic experience, she returned to New York and, finding no opening in the theater, gladly accepted a job to do camera research for Albert Johnson, who was designing sets for a Paramount motion picture. She photographed typical buildings. Cooke Cine Lenses help the industry progress by meeting today's needs and ideally being fully capable of satisfying the future's ever more exacting requirements. Focal lengths for every need. Write for descriptive literature.\n\nBell & Howell Company\nExclusive World Distributors of Taylor-Hobson Cooke Cine Lenses\n1848 Larchmont Avenue, Chicago\nNew York: 30 Rockefeller Plaza\nHollywood: 716 N. La Brea Ave.\nLondon: 13-14 Great Castle St.\nFAXON DEAN INC.\nCameras. Blimps-dollies for rent.\n4516 Sunset Boulevard and locations in New York characteristic of certain periods, which could be used as source material for Mr. Johnson's work. She also had many opportunities to watch film production on the set.\nHer association with an independent film production group as still photographer in the making of a film on the New York waterfront brought the realization of the dynamic possibilities of motion pictures to record and present in dramatic continuity the life that existed all around her.\nFrom this idea, she became seriously concerned with film production. And although her plans were plentiful and she had many ideas, there were no funds for films and equipment.\nEmployment by the Federal Art Project Photograph Division solved this problem somewhat, and when she later was\n\n(Note: The text appears to be complete and does not contain any meaningless or unreadable content, ancient languages, or OCR errors that require cleaning. Therefore, the entire text is output as is.)\nAssigned to work with the motion picture production unit, she was permitted activity in film on the \"Technique of Fresco Painting.\" But her first real opportunity to handle a movie camera came when she was assigned to do a short film on the problems of Out of School Youth.\n\nHer work on \"From Hand to Mouth\" covered almost every phase of its production, from preliminary research in collaboration with Mr. Seltzer to writing of the script and codirecting.\n\nBesbee Products Company\nHas Unique Splicing Gadget\n\nBesbee Products Corporation in Trenton, N.J., has brought out an unusually clever and useful article for rapid and efficient splicing called the Rapid Twin Desk Set.\n\nThe Rapidon Film Adhesive Applicator, which does away with the gummy cement brush and bottle, and his twin, Rapidoff, the handy Emulsion Splicer.\nMoistener and Remover, works like a fountain pen, are placed in an attractive metal holder. When on a desk, the complete unit resembles an expensive fountain pen set. Besbee's price for the set is $3.50. See it at your dealer or write direct to Besbee.\n\nNovember, 1939 \u2022 American Cinematographer 521\n\nCLEAVES VISITS FORD'S;\nNOW NEGATIVE NO. K,4\n\nAll famous guests \u2013 not excepting photographers \u2013 get photographed at the Ford Exposition at the New York World\u2019s Fair. Howard Cleaves, ace wildlife photographer who made a diving suit for his camera and has traveled more than 50,000 miles to bring wild animals back on film, spent fifteen minutes in the photographic department of the big exhibit and walked out with a glossy print of himself.\n\nDaring, patience, and mechanical ingenuity have marked Cleaves\u2019 unique career. He has been photographing wildlife.\nAnimals were his lifelong passion. He descended into a water-tight tank to film diving ducks in action. He cruised 250 miles over the Florida Everglades in a blimp to photograph wildlife below. He has crouched night after night for more than a week in a steel barrel on the edge of a forest clearing to record flash pictures of wild bears. It took him three years to get one of his most famous pictures, of an osprey rising from a strike.\n\nIn the Ford Exposition\u2019s photographic department files, Cleaves became Negative No. K-42. The photograph of him which accompanies this article was one of over 100,000 made under the shadow of the Trylon and Perisphere, and mailed for publication during the 1939 World\u2019s Fair season. Six photographers, headed by Russell Kimble, constitute the department personnel. This department is just one unit\nThe vast photographic division of the Ford Motor Company was headed by George Ebling, who had made a name for himself as a distinguished newspaper photographer. He began his career with the Philadelphia Inquirer in 1921 and went on to work for the Chicago Tribune, Detroit Free Press, Detroit News, and Washington Post. He had a keen eye for a headline-making photograph. In November 1926, he captured an image of Benjamin Purnell, known as \"King Ben,\" of the House of David at Benton Harbor, Mich. He had covered the White House and all of official Washington. He was the second news photographer in the Clark Street garage where the Valentine's Day Massacre took place in Chicago on February 14, 1929. Hailing from Wilkes Barre, Pennsylvania, he covered the Century of Progress in Chicago in 1934 and the California Pacific International Exposition in San Diego in 1935 for the Ford Motor Company.\nEquipment  in  the  Ford  Exposition\u2019s \nphotographic  department,  which  has  done \nthe  biggest  job  of  any  industrial  build\u00ac \ning  at  the  Fair,  is  standard.  Included \nare  two  Eastman  5  by  7  enlargers,  one \nPako  contact  printer,  three  speed \nGraphics,  and  one  all-metal  8  by  10. \nWhen  King  George  and  Queen  Eliza\u00ac \nbeth  visited  the  World\u2019s  Fair\u2014 Kimble \nmade  them,  of  course.  He  wired  Dear\u00ac \nborn  for  a  \u201cBig  Bertha,\u201d  and  snapped \nthe  royal  couple  from  the  roof  of  the \nFord  Exposition  as  they  whizzed  past, \nenroute  to  their  reception  at  the  Fair. \nEastman  Issues  Silent  16mm. \nFilms  by  Teaching  Division \nThe  following  new  16mm.  silent  films \nare  announced  by  the  Teaching  Films \nDivision  of  the  Eastman  Kodak  Com\u00ac \npany,  Rochester.  The  prices  quoted  cover \noutright  purchase,  which  in  each  case \nTo  show  you  how  they  do  things  at  the \nFord  Exposition  at  the  New  York  World's \nHere's Ace Wildlife Photographer Howard Cleaves. He peeked into the film developing room and was photographed in the process. The Eyes (Advanced) - An animation and photography show detailing the eye's anatomy, dissection of an animal's eye, microscopic retina structure, and eye physiology. Correct lens usage for focusing defects and eye hygiene are also discussed. The Eyes (Primary) - A film for elementary grades. It compares the eye to a camera, shows iris action, focusing, and the pathway of light impulses to the brain. Eye care is also discussed. Child Care, Bathing the Infant - Various types of equipment used in bathing an infant are shown, along with correct handling methods during the bathing operation. Child Care, Feeding the Infant - A description of infant feeding.\nThe tailed picturization of the routine of feeding a breast-fed and bottle-fed baby. The preparation of utensils used, the procedure of making up the feeding formula, and the feeding operations are shown.\n\nFood Series, Vitamin B1 - The natural sources of vitamin B1, the antineuritic vitamin. The effect of deficiency of vitamin B1 on pigeons and young rats. The effect of extreme vitamin B2 deficiency on human beings - beriberi.\n\nSafety Series, Safety at Home - This safety film for children in the first three grades illustrates safety practices for children in the home.\n\nSafety Series, Safety at Play - A safety film for children in the first three grades. Contrasts safe and unsafe places to play.\n\nSafety Series, Vacation Safety - A safety film for use in grades four to six, and in Junior High Schools.\n\n\u20acFRANK^UCKER CABLE ADDRESS: CINEQUIP camera Equipment.\n\nLANDERS tit TRISSEL, Inc.\nRENTALS  -  SERVICE  :  \u2014 \nMOTION  PICTURE  CAMERAS  -  BLIMPS  -  DOLLIES  -  CAMERA  CRANE \nAND  ALL  ACCESSORIES \nPHONE  6313  SUNSET  BOULEVARD \nHI  NEAR  VINE  STREET \n111-8333  HOLLYWOOD,  CALIFORNIA \nNight \nLanders  HE-1311 \nTrissel  -  Sunset  25992 \n522  American  Cinematographer  \u2022  November,  1939 \nMaking  Newsreel  of \nFamily  Thanksgiving \n(Continued  from  Page  516) \nfilled  football  sequence  into  your  film. \nJust  get  a  succession  of  close  shots  of \nyour  menfolk  clustered  excitedly  around \nthe  radio  \u2014  eloseups  of  supporters  of \nthe  opposing  teams  registering  joy, \nsorrow,  disgust,  etc. \nWhen  the  roll  comes  back  from  the \nlaboratory  intersperse  these  scenes  with \nyour  stock  shots  of  other  games\u2014 and \nyou\u2019ll  get  a  convincing  effect,  particu\u00ac \nlarly  if  you  work  in  some  fotofade \n\u201cwipes\u201d  from  the  radio  shots  to  the \ngame  shots. \nAll  of  this  leaves  you  just  about \nthree  sequences  to  shoot  while  the \nThe celebration includes the arrival of guests, the turkey emerging from the oven, and the feast, with a close-up of the turkey ruins once everyone has had enough. Shots of the turkey entering and leaving the oven can be quick close-ups, made without a tripod. A single lamp should suffice for color shots. Use a clamp-on lamp with a \"mogul\" base and a No. 4 Photoflood bulb for more light and a larger coverage area.\n\nTo capture the arriving relatives, set the camera on its tripod on the front porch, pre-focus and wind it, then start it running as each person arrives.\nA group arrives, and let the actual event \"direct\" itself. With many cameras, you can even let the camera run itself while you walk into the picture and play your own part!\n\nPlenty of lights in advance. For the scenes of the dinner, it's a good idea to set up your lights ahead of time, and if possible, have enough of them so that you can use several separate groups as a unit. This way, when you see something interesting happening at one end of the table, all you need to do is throw one switch, or, if you have each group connected as a unit to a multiple outlet, plug in one connection. Then the lamps illuminating that particular area will come on, and you can shoot your scene quickly, without disturbing your people too much\u2014and get back to your own plate with a minimum of delay.\n\nWhen something interesting happens.\nAt another part of the table, it can be filmed the same way, without moving lamps and sometimes without moving the camera. A variety of angles helps build the effect of such a sequence; so, too, does the use of a variety of lenses, telephoto, normal, and wide-angle.\n\nAnd to close your picture, it's hard to improve on the trusty old newsreel \"gag\" \u2014 the aftermath: \"Junior,\" deeply regretting his last few pieces of pie, gulping down a spoonful of castor oil!\n\nIt may not be altogether novel, but it is certainly human interest; we've all done it.\n\nHuman interest and continuity are the factors that make a family's holiday film interesting to the other fellow!\n\nPhiladelphia Cinema Club\n\nIn spite of the hottest day ever recorded in Philadelphia, for October 10, the Philadelphia Cinema Club entertained a rather large group at its October meeting.\nA meeting was held in the Hotel Adelphia. Our own W. W. Chambers, whose reputation as a photographer goes back a considerable number of years, exhibited to the membership 800 feet of 16mm black and white scenes entitled \"The Delaware Canal and Vicinity.\" He then showed 400 feet of Kodachrome of scenes in and around New Hope, Penn.\n\nThe showing was accompanied by comments from Mr. Chambers on the scenes with reference to lighting, composition, and specific attention to details. He demonstrated clearly that he is a master of the movie camera, as well as of still photography. He particularly emphasized certain features of lighting by running portions of the film backward, as well as forward. This was particularly true of back-lit trees.\n\nW. E. Chambers, bringing in a Bolex projector adjustable to both 16 and 8mm film, presented his.\nMr. Chambers presented 800 feet of 8mm Kodachrome film taken at the World's Fair. He showed that by reducing certain shots to 4 frames, he could achieve results not otherwise possible. Mr. Chambers then spoke to members about the legal aspects of photography. The average amateur gives little thought or consideration to their legal obligations when photographing living subjects, and his frank discussion was a welcome addition to our knowledge on the subject. He also clearly demonstrated with his World's Fair pictures that a lawyer can simultaneously be a good camera man. Using a Polaroid screen, varying speeds, taking shots indoors and out, making use of sky, background, and masses of color, he produced a real 8mm job.\n\nB. N. Levene.\nChairman, Publications Committee.\n\nSTRO Lenses for sale by Mitchell Camera Corporation, 665 North Robertson Blvd., West Hollywood, California. 35MM. & 16MM. Laboratory Equipment for Color and Black and White. Continuous Sound and Picture Printers, Automatic Developing Machines, Light Testing Machines, Registration Step Printers, Bi-Pack Color Step Printers, Optical Printers. Laboratories write for details.\n\nFried Camera Co.\nCable Address: FRIEDCAMCO, 6156 Santa Monica Boulevard, Hollywood, Calif.\nCamera Supply Company\nArt Reeves, 1515 North Cahuenga Boulevard, Hollywood. Cable Address\u2014Cameras CALIFORNIA. Efficient-Courteous Service New and Used Equipment Bought\u2014Sold\u2014Rented. Everything Photographic Professional and Amateur.\n\nNovember, 1939 \u2022 American Cinematographer 523\n\nFigure U\n\nNotes on Exposure Meters (Continued from, Page 501)\nIn determining the correct exposure, one must stand in the light and find the spot where the darkest significant shadow appears. Next, the proper distance from each reading spot is necessary. This is a serious issue, as demonstrated in the discussion of Figure 4.\n\nThe problem of determining the geometric mean (not the arithmetic mean) of the two readings follows. Once all these steps have been taken, a significant figure is obtained, which usually leads to the determination of a correct exposure. However, this is not a method that can be used in a great hurry.\n\nIn this discussion, several important conditions affecting the readings obtained from a photoelectric exposure meter have been highlighted. Next month, a quantitative analysis of a meter set up on a test stand in a laboratory will be presented.\n\nThis procedure will enable us to form a comprehensive understanding of the meter's functioning.\nVariations of considerable magnitude may be expected with Goerz Kino-Hypar lenses for color movies on Kodachrome, Dufaycolor, and other films. The high chromatic correction of these lenses will result in clear-cut, undistorted images of microscopic definition and crisp brilliance. Focal lengths from 15 mm. to 100 mm. can be fitted in suitable focusing mounts for amateur and professional movie cameras.\n\nGoerz Reflex Focuser \u2014 Patented \u2014\nA boon to 16 mm. movie camera users \u2014 eliminates parallax between finder and lens \u2014 provides full-size ground-glass image magnified 10 times. Adaptable to lenses 3\" and up. Also useful as an extension tube for shorter focus lenses for close-ups. Extensively used in shooting surgical operations, small animal life, etc.\n\nAddress: Department AC-1\nC.P. GOERZ AMERICAN OPTICAL CO.\nAmerican Lens Makers Since 1899\nR. Fawn Mitchell Manager of Precision Laboratories\nThe rapidly expanding technical facilities of the Berndt-Maurer Corporation have been increased by the addition to the staff of R. Fawn Mitchell, who has been installed as manager of Precision Film Laboratories. Precision is a wholly owned subsidiary of The Berndt-Maurer Corporation. In his new capacity, he will bring to the present and prospective clients of the laboratory the benefit of his wide technical experience. Previously, Mitchell was manager of Andre Debrie Inc. of MOVIOLA FILM EDITING EQUIPMENT Used in Every Major Studio Illustrated Literature on request MOVIOLA CO. 1451 Gordon St. Hollywood, Calif FRED HOEFNER Cinema Camera Shop True Ball Tripod Heads 915 N. La Cienega, Los Angeles, Calif Telephone CRestview 5-7092\nAnthony Fernandez, previously head of the technical service at Bell & Howell in Chicago for two years and before that for twelve and a half years, is active in the activities of the Society of Motion Picture Engineers, particularly in the non-theatrical and laboratory committees. He is the author of many technical writings dealing largely with the specialized problems of the 16mm. field.\n\nAnthony Fernandez of Mexico City greets Hollywood Friends\n\nAnthony Fernandez is in Hollywood for a visit. It has been seven years since he was last in this town, where he joined the Thomas H. Ince crew in 1911 as a stillman. He admitted that the still facilities were not exactly ample in those days, being confined partly to a few trays for developers, etc. After an apprenticeship as a stillman, he joined the laboratory.\nRT Reeves, who had been dealing in motion picture equipment for ten years, is back from a three-week stay in Mexico City. He would have stayed longer had he known about the extreme heat that had already hit Los Angeles when he returned. Instead, he experienced a week of 100 degrees or more every day upon arrival.\n107.2 One day - we are speaking officially now, of course - we are but 1.8 shy of an all-time record. Can you beat such luck, after having gone so far, and that 109 having been recorded forty-seven years ago!\n\nReeves went south with a half dozen men from Mexico City. They had been giving the O.O. to Hollywood and North Hollywood and Culver City and the various other places called Hollywood when speaking generally. They were:\n\nB.J. Kroger, who calls himself just a sound man but who bulks big as a Mexico City producer; Gabriel Figueroa, cameraman; George Fernandez, set designer; Lauren Draper, cameraman; Ignacio Torres, still cameraman; and J. Martel, assistant cameraman.\n\nMade Big Ones\n\nKroger came here mainly to pick up an Art Reeves rerecording system to complete his two sound trucks with Art Reeves equipment. He has made all the big ones.\nSpecial talking pictures include \"Alla en el Rancho Grande,\" \"Ora Poncanaro,\" \"Ojos Tapatios,\" and \"Que Idiotas Son Los Hombres.\" His latest pictures are \"Papacito Lindo\" and \"La Noche de los Mayas,\" with a budget of a quarter million pesos.\n\nThe C.L.A.S.A. Studio has several stages and a machine shop, as well as a laboratory with a Sensitester and two Art Reeves developing machines. Last year, these machines processed ten million feet of film.\n\nGarcia Moreno oversees Azteca Studio, which has a Reeves developing machine and Sensitester, as well as two sound stages and a laboratory. Mexican Films' studio has three sound stages. Three other stages are scattered around the city.\n\nThe Rodriguez Brothers have three sound trucks. One of these trucks is operated by Consuelo, a sister of the brothers. She has a name in the industry.\nThe local trade was efficiently tested by the offers, some bold and others with one eye on the brothers, seeking her consent to join one of the competitors.\n\nMakes for Fast Trip\nMexico City has twelve sound trucks. Reeves said he had to report his equipment. His glow tubes almost reached that mark.\n\nThe run of the two autos from Hollywood to Mexico City was a trip. The way was through El Paso and Laredo. The party left at 9:30 Saturday night. El Paso was reached at 4 o'clock Sunday afternoon. The bunch slept until 3 o'clock Monday morning. At 4:30 that afternoon they crossed the river at Laredo and started for Mexico City. The party drove all Monday night. They arrived at Valles for breakfast at 5 o'clock Tuesday morning. Then they continued on their journey.\nComplete 16mm Film Service\nMACHINE DEVELOPING: Composite Prints, Duplicate Negatives, Sound Track, Editing, Titling, etc.\n\nSOUND RECORDING: Direct on 16mm film or Acetate Discs. Sound Truck Available for Location.\nHigh Standard of Quality Assured by Sensitometry and Time and Temperature Control.\n\n1027 No. Highland, Hollywood, HI-0226, California\n\nIncludes: Machine, Processing, Ambertint Film\n\nHere's the BEAL film for exceptionally fine results when taking outdoor movies. Ambertint is a fine-grain, 16mm reversible safety film, packed on daylight spool, ready to load and shoot.\n\nGives you better outdoor results. Weston rating of 8\u2014 Ambertint gives you outdoor detail, contrast and shading comparable to higher priced film. Shoot more outdoor at less cost with Ambertint. Order SEVERAL rolls NOW. California.\nBuyers include sales tax.\n\nHollywoodland Studios\n\"The West's Greatest Film Mail Order House''\nSouth Gate, California\nIn World \"Us\"\n\nProduce an A efflics \"To Day-imv-FV?<9 Scenes-\"\n\nDiffused F<7c*us and many fruits\n\nGeorge H. Schoicb*\nORIGINATOR OF EFFECT FILTERS\n1927 100 West 78th St, Los Angeles, CA\n\nEnlarged\nTO\nReduced\nTO\nGeo. W. Colburn Laboratory\nSpecial Motion Picture Printing\n1197 Merchandise Mart\nChicago\n\n200 miles. The elevation of seven to eight thousand feet brought them into the clouds and most beautiful scenery. It was a wide road, paved with asphalt all the way, with a center line clearly painted. The highway was banked at turns, with many otherwise bad curves protected by steel guard rails.\n\nThe writer took the liberty of calling the Southern Pacific office to inquire as to the railway distance from Los Angeles to Mexico City. The answer returned\nThe text is already relatively clean and does not require extensive cleaning. I have removed some unnecessary whitespaces and line breaks.\n\nThe text reads: \"was, by way of San Antonio and Laredo, it was 2393 miles. As it\u2019s eight miles farther from Hollywood than Los Angeles, that makes it 2401 miles from here to there, not a bad run from Saturday evening to Tuesday forenoon. And of course, a matter of real interest locally is the statement of the returned traveler regarding the average temperature in Mexico City: that it hovers between 65 and 75. It is not easily forgotten, we do things \u2014 at times \u2014 quite differently here, meaning Southern California in general and Los Angeles in particular, where under circumstances somewhat timidly described as unusual, the temperature is not content to hover. It really soars. G.B.\n\nThe Railroad Boosters of Los Angeles, a body of young men particularly interested in railroads, boarded a train at Los Angeles the morning of October 15, en route to\"\nCarriso Gorge, California, near the border of Mexico. Members were not of a single-minded disposition, as practically every one carried a camera. There were little ones other than mini-cams and there were big ones. Few movies were in the bunch, but there were enough to prove the rule. The train stopped at San Diego, where members and guests came aboard to swell the total to 250.\n\nThe special train swung over the tracks of the San Diego and Arizona Eastern, which for forty-eight miles out of San Diego is laid in Mexico. The train traveled through the Gorge and stopped for a wait of twenty or more minutes. Much film was consumed, the majority in still stock.\n\nThe run below San Diego was spectacular, and while the elevation attained was only 3660 feet, the scenery was well worth it, particularly.\nFrom Jacumba Springs for eleven miles to the Gorge. The comparatively short bit of track which runs through the Gorge is reported to have cost four million dollars; it is entirely understandable. Also, it is equally understandable why an inspector of highway on a speeder looking things over travels over the track ten minutes in advance of a train. The track is about a thousand feet above the bottom of the Gorge.\n\nThe day started at 7:30 in the morning. The train reached Los Angeles at 11:20 that evening. That was quite a full day \u2014 and the boys and girls seemed to enjoy it to the full.\n\nNovember, 1939 \u2022 American Cinematographer 525\n\nMaking Modern Matte-Shots (Continued, from Page 495)\n\nThe success of matte shots depends upon perfect matching of the two components \u2014 which can only be assured by actual photographic tests. The matte-painting itself is mounted on a glass plate.\nA carrier, hung from a rigid overhead support, positions in front of a large door on the special-effects stage. The carrier can be manipulated remotely, moving in and out with respect to the lens, up or down, to the right or left, or revolved, ensuring perfect registration.\n\nOne installation faces a large door that opens onto the special-effects stage. When necessary, this door may be opened to allow the camera to photograph through clear areas in the painting \u2013 which in this case would be painted on glass \u2013 for the inclusion of additional desired action, such as on a process screen, a miniature, or even live action, with or without a set.\n\nThis has been useful, for instance, in scenes such as a painting of a city street, where actors at the far end of the large stage have moved.\nThe \"distance\" of a city street, painted in actuality, uses Front Mattes. In most studios, the best results come from having a soft matte-line on both the original take of the live action and the later take of the painting. Retlefsen makes his painting with a soft matte-line. The areas embraced by the first exposure are matted out in a flat, non-reflective black in this painting. In theory, this should be enough, but in practice, a soft front-matte used in photographing the painting gives an even better blend. It is more trouble, but the results justify it. It is to the credit of Cameraman John Crouse, who photographs most of our matte-paintings, that he voluntarily goes to this additional trouble to assure better results.\nThe teamwork between Crouse and Detlefsen is notable. Each has full confidence in the other. Crouse is unwilling to ascribe any detail of a painting until he has exhausted every graphic artifice in coordinating the composite result, for he knows that even minor changes in a well-made matte painting can detract from its convincing aspect. Detlefsen never argues when he learns Crouse feels the painting needs changes, for he knows Crouse never demands changes merely to make his own work easier. The result is that when the two complete a matte-shot, very little criticism is possible.\n\nFilmack Extends to 16mm.\nFacilities Enjoyed by 35mm.\n\nThe Filmack Trailer Company of Chicago, national institution in the 35mm title and announcement trailer business,\nThe Eastman Kodak Company notified its dealers in the current publication: \"From 1914 to 1918, Eastman Kodak product prices in the United States remained constant. During the present war crisis, we will again strive to maintain this policy, making price changes only when necessary due to increased costs.\" Filmack Laboratories now offers 16mm users and road show men the same trailers as in the 35mm field. We recently had the opportunity to view the renowned production \"Good-bye, Mr. Chips.\"\nIt's worth the waiting and the delays. But already there is planning to catch it again before it is lifted from the screen \u2014 for it is one of the few pictures that easily justifies a second and a third showing. Frequently, there is an outstanding part in the subject that is being reviewed. Far less than frequently, is there a second lead, a co-lead, that shines with marked brilliance. It is the fact here. We know Robert Donat, and as we know him, we may be pleased and thrilled at his performance, but we are not surprised.\n\nWe did not know Greer Garson. But her appearance on the screen was a continuing thrill \u2014 and like her appearance in the book was all too short. The cast as a whole was of unusual calibre.\n\nCLASSIFIED ADVERTISING\n\nFOR SALE\n\nDE BRIE MODEL L, Cooke f :2.4, 40 and 50 mm lenses, Zeiss f :2.7 three inch, 6 magazines,\nTripod and cases $850.\nDE Brie Model L, Astro f/2.3 40mm and 50mm lenses, 6 magazines, tripod, cases $750.\nSPECIAL DE Brie Model K with pilot pins, intermittent pressure plate, 50mm lens, 6 magazines, tripod, cases $450.\nAkeley Camera No. 113 \u2014 2** Zeiss matched lenses, Cooke 6\u201d f/3.5, 4 magazines, tripod.\nWall Rebuilt Bell & Howell single system, 3 fast lenses, 2 magazines, tripod, amplifier, quartz slit, dynamic microphone. Good condition, complete $1750.\nRebuilt Silenced Bell & Howell with focusing shift-over and magnifier, three lenses, tripod, sunshade, finder $1400.\nMotion Picture Camera Supply, Inc.\n723 Seventh Avenue, New York City\nCable Address: Cinecamera\nThe World\u2019s Largest Variety Of\nStudio and Laboratory equipment with latest improvements as used in Hollywood at tremendous savings. New and Used. Mitchell, Bell-Howell.\nAkeley, De Brie, Howell, Eyemo - animation process cameras, lenses, color magazines, adaptors, lighting equipment, silencing blimps, dollies, printers, splicers, moviolas, motors, light-testers, gear boxes, synchronizers. Guaranteed optically and mechanically perfect. Send for bargain catalogue.\n\nHollywood Camera Exchange\n1600 Cahuenga Blvd., Hollywood, Calif.\nCable : Hocamex\n\nNew Precision Test Reel for Projection and Sound. Developed by prominent SMPE member. Combination visual, sound tests for all soundtrack adjustments. Indicates travel ghost, sidesway, picture jump, etc. Contains visual targets and constant level frequencies. W. E. Mirrophonic recording. Truly simplified, easily understood. Comparative value, $75.00. With full instructions, $29.50.\n\n16mm Bell & Howell Studio Sound Camera, like new. No. 859. Joseph Tilton, 920 S. Aiken Ave., Pittsburgh, Pa.\n\nWestern Electric Interlock Motor.\nMounted on door for Mitchell Standard Camera.\n\nCamera Equipment Company\n1600 Broadway, New York City\nTel. Circle 6-5080 Cable: Cinequip\nWe buy, sell, and rent professional and 16mm equipment, new and used.\nWe are distributors for all leading manufacturers. Ruby Camera Exchange, 729 Seventh Ave., New York City.\nEstablished since 1910.\n\nBell & Howell 1000 foot magazines. Good condition, $27.50 each. Box No. 978, American Cinematographer.\n\nBell & Howell Camera, silent, Fearless movement: three Cooke Kino lenses, F:2; Mitchell freehead, tripod; Fearless motor; thousand-foot magazine; Mitchell matte box complete; sacrifice quick sale. HI5887 or 1234%, Cahuenga Boulevard, Hollywood.\n\n65 mm Equipment; includes De Brie Camera, projectors, Printer, Carrying Cases and Accessories. This equipment brand new, ideal for experimental purposes. To be sold for fraction of original cost.\nAdditional equipment for sale: Sperry Sun Arcs, M-R Sound Booms, Machinery, etc. Contact Frank Leslie, Paramount Studio, Hollywood, Calif.\n\nAkeley Camera, with gyro tripod, like new, matched 2\" Zeiss F:2.7 lenses, one 6 %\" Bausch & Lomb Tessar lens F :4.5 with finder lens, one 12\" Dallmeyer Telephoto with finder lens, five magazines, carrying cases. Price Bass Camera Company - 170 W. Madison St., Chicago, Illinois - Dept. D\n\nEyemo Cameras from $100.00 up \u2014 Debrie, 4 magazines, tripod, case, $126.00. Bell & Howell Silenced Camera, outfit, $1150.00. Scene Moviola, $37.50. Moviola with reel posts, $75.00. Filmo Sound Projector\u2014 2 \u2014 case, $225.00. Double Sprocket Measuring Machine, $42.50. Accessories. Address Irving Browning, Camera Mart, Inc., 70 West 45th Street, New York.\n\nWanted\nWe pay cash for everything photo-graphic. Write us today. Hollywood Camera\nWanted 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. American Cinematographer, November 1939.\n\nI want to report:\nWhite, Crace, send, keep, Piof, Br, ry\u201940/ee, as, ears to the film with a Filmo projector. With a Filmo projector, program interruptions are infrequent and brief. Most models are now completely gear-driven, and on the few models which do use spring belts to drive reel spindles, belts are quickly replaced by anyone without taking the projector apart. In removing a burnt-out lamp, the cool base rather than the hot glass is grasped. Replacement is made quickly, without using tools or gloves.\nGet a Filmo and enjoy the grand feeling of owning a truly fine projector which won't let you down when you're playing the perfect host-showman. Get it now, while prices are still low. May we send details?\n\nBuilt by the makers of Hollywood professional equipment \u2014 Bell & Howell Company, Chicago, New York, Hollywood, London. Est. 1907.\n\nNEW FILMO ACCESSORIES\nNew Direct Focusing Finder for Filmo 141. Slips into the 141 camera in place of the film magazine. Permits both precise visual focusing and accurate framing of any subject, near or far, through any lens. The image is upright and magnified ten times! Eliminates all parallax errors. Useful for titling.\n\nOnly New Low-Cost Tru-Pan Tripod. Provides all-round utility and extreme smoothness of action. Has the same pan and tilt head as the B&H All-metal Tripod, and two-section legs of selected straight-grained wood.\nThe birch legs are strong and rigid, adjustable to various lengths. Priced at $18.7. New Focusing Alignment Gauge for Filmo Turret 8 permits using the turret 8 critical focuser to its full extent for both focusing and framing from the position the lens will occupy when the scene is filmed. Gauge can be mounted on any tripod. Provides sharp focus and accurate composition. Useful for titling. Only $7.50.\n\nFilmo 8 Dft\nFilm Lap Dissolves with a Filmo 8 mm Camera. Any Filmo 8 mm Camera, new or used, can now be equipped with a film rewinding device, a sprocket-actuated frame counter, and a clutch for disengaging the shuttle for rewinding. With these features, you can effectively rewind the film.\nCAN make lap dissolves and double exposures. Low installation cost. Write for details.\n\nBELL & HOWELL\nTry folks,\nL just be a\n'ute or two\nGet a dependable\nMitchell cameras\n\nThe camera of tomorrow as well as the camera of today.\nAdvanced designs to keep abreast of an advancing industry.\n\nMitchell Camera Corporation\n665 North Robertson Boulevard\nWest Hollywood, CA\nCable Address \"MITCAMCO\u201d Phone Oxford 1051\nBell & Howell, Ltd., London, England\nClaud C. Carter, Sydney, Australia\nD. Nagase & Co., Ltd., Osaka, Japan\n\nAgencies\nMotion Picture Camera Supply Co., New York City\nFazalbhoy, Ltd., Bombay, India\nH. Nassibian, Cairo, Egypt\n\nFor Amateur and Professional Photographers\nDecember\nForeign 35c\nPublished in Hollywood by\nAmerican Society of Cinematographers\nFine Grain Positives\nHilliard.\nTesting New Weston SPARKUHL eeves: Puts 16mm. and mm. in Bed Together\nJohn Arnold Builds Boom\nSTULL\nContinuity Prime Factor\nCADARETTE Action Stills with Synchro-Flash\nBROWN Is of American Film \u2014 Review\nBLAISDELL Smoothing Scene Transitions\nSPRUNGMAN Remodeling A Picture Sets\nOTTERSON ierndt Comes to Coast\nGevaert Opens American Plant\nSfa&ten and Then Qualned\nDu Pont Film Manufacturing Corporation, Incorporated\n9 Rockefeller Plaza, New York, NY\nPlant: Parlin, N. J.\nSmith & Aller, Ltd.\n6656 Santa Monica Blvd.\nHollywood\nDu Pont Superior-2 is a new panchromatic negative for general production use. It is twice as fast as the familiar Superior Pan-100 type (now to be known as Superior-1). Yet the grain size is perceptibly finer.\nDu Pont Superior-2 retains the wide latitude, long scale gradation and ability to render shadow detail.\nThat have established Superior-1 and Superior-2 as superior photographic materials of outstanding excellence. For practical purposes, the developing characteristics of the two films are identical. We invite you to try Superior-2 (type 126) on your next production.\n\nBetter Things for Better Living through Chemistry.\nte&p View finder Turret.\nProvides Convenience, Speed, and Accuracy.\n\nNow.\n\nEYEMO can be equipped with a 400-foot external magazine, offset turret, electric drive, and other studio accessories, or it can be stripped down to a light, compact, spring-driven hand camera.\n\nI Bell & Howell Company\n1848 Larchmont Ave., Chicago, Ill.\n\nSend details about new, improved Eyemos.\nI ( ) I own Eyemo Serial No. Am interested in converting it to include.\n\nHas a New \"Positive\" Viewfinder!\nBell & Howell engineers have scored again. The Eyemo now features a \"positive\" viewfinder and a new finder turret, which mounts three matching viewfinder objectives. With this new \"positive\" viewfinder, there is no masking to reduce the field. A large-size image always fills the entire finder aperture for all lenses of any focal length. In addition, this new Eyemo finder eliminates eye parallax. Even when your eye wanders from the center of the eyepiece, you still see the EXACT field to be filmed. Furthermore, the advantage of having three matching finder objectives on a turret for instant readiness makes the Eyemo unsurpassed in the field of portable cameras. For no other camera offers the versatility and dependability of the Eyemo. For information about this superb 35 mm. camera, please mail coupon. Bell & Howell.\nCompany: 1848 Larchmont Ave, Chicago, 30 Rockefeller Plaza, New York, 716 N. LaBrea Ave, Hollywood, 13-14 Great Castle Street, London. Established 1907.\n\nOther Recent Eyemo Improvements:\nImportant! Many Eyemo owners are converting their cameras to include these changes. Conversion charges are reasonable. Write for details.\n\nNEW FLAT BASE: 2V2 square, with dowel holes, gives perfect seating on any flathead tripod.\n\nLENS MOUNT LOCKING SCREWS: lock each lens in focus!\n\nTURRET LOCK: for Eyemos with offset turret assures alignment even with long, heavy lenses.\n\nDETACHABLE CORD: now supplied with electric-drive models.\n\nPrecision-made by Bell & Howell\n\nName . .\nAddress .\nState .\n\nDecember, 1939 \u2022 American Cinematographer 531\n\nAmerican Cinematographer: A Technical and Educational Publication on Motion Picture Photography.\n\nPublished monthly by the American Society of Cinematographers, Inc.\n1782 North Orange Drive, Hollywood (Los Angeles), California\nTelephone: GRanite 2135\n\nJohn Arnold, President\nAL Giles, Secretary-Treasurer\n\nContents\n\nTesting the New Weston Meter .533\nBy Theodor Sparkuhl\nUse of fine grain positive emulsions for variable density film recordings .536\nBy John K. Hilliard\nM-G-M builds unique camera boom\nBy William Stull, A.S.C.\nArt Reeves builds 16mm.-35mm. developer\nMiller\u2019s \u201cBluebird\u201d to be shown on the road\nMaking action stills with focal-plane synchro-flash...\nBy Milton Brown\nReproduction of film exposed forty years ago\nRise of the American Film \u2013 a book review\nBy George Blaisdell\nSmoothing scene transitions\nBy Ormal I. Sprungman\nRemodeling picture sets to benefit B's\nBy Jack Otterson\nEric Bemdt opens plant in West for B-M equipment\nDevise Sunflector as cinematographer help\nWalker wins another\nContinuity: prime factor of storytelling\nBy Claude Cadarette\n\nHollywood man installing focal plane synchronizer for Camera rest for Filmo 141 designed by Bell & Howell. Goerz unaffected by war situation.\n\nSt. Paul Club has gala event in State Capitol.\n\nHugo Meyer announces new synchronized range finder. Agfa\u2019s new Speedex makes strong bid for popularity. Eastman Projector 70 has new 8mm standard. Gevaert Company will open United States plant.\n\nThe Staff\nEDITOR: George Blaisdell, WASHINGTON\nSTAFF CORRESPONDENT: Reed N. Haythorne, A.S.C.\nTECHNICAL EDITOR: Emery Huse, A.S.C.\nADVISORY EDITORIAL BOARD: Victor Milner, A.S.C.; James Van Trees, A.S.C.; Fred W. Jackman, A.S.C.; Farciot Edouart, A.S.C.; Fred Gage, A.S.C.; Dr. Herbert Meyer, A.S.C.\n\nFront Cover:\nTo catch every subtle nuance in the magic dancing of Zorina in \u201cOn Your Toes,\u201d the camera crew used every device.\nFor the \"Zenobia\" ballet scene, the boom is utilized. This intricately crafted instrument, made of featherweight steel (costing $11,000) and managed by four men, allows the camera operators to capture the renowned ballerina from various angles, including above and below her. The musical segments of the film were directed under Georges Balanchine's guidance (standing to the right of the dancing group with one hand on his hip); James Wong Howe, A.S.C., cinematographer for \"On Your Toes,\" is with Georges (wearing a gray suit and white shoes). The primary cameraman is George Nogle.\n\nNew York Representative: S. R. Cowan, 19 East 47th Street, New York. Phone: Plaza 3-0483.\n\nForeign Representative: Georges Benoit, 100 Allee Franklin, Pavillons-sous-Bois, Seine, France. Telephone: LeRaincy 13-19.\n\nAustralian Representative: McGill\u2019s, 179 Elizabeth Street, Melbourne.\n[532, December 1939 issue]\n\nIt has frequently been stated that the use of a modern photoelectric exposure meter is a valuable aid in maintaining consistent negative values under varying conditions of lighting.\nThe greater part of this discussion has been based on the use of meters measuring incident light, giving the impression that the reflected-light type of meter is not suited to modern studio conditions. While I have no desire to revive the old controversy over the respective merits of incident light versus direct light readings, I feel that a statement of my recent experiences using one of the newer types of reflected light meters may prove of constructive value at this time.\n\nBriefly, they may be summarized by the statement that I have found it possible to name arbitrary overall light readings and film-speed settings which will permit one to predict with accuracy the printing value of the negative so exposed.\n\nDuPont Superior \u2014 (Old Type). It must be understood, of course, that my experiments were based on this type of film.\nThe processing procedure of Paramount Studio's laboratory necessitates some modification for films processed in other plants where negative development or printing may be scaled differently. The meter used was a new Weston Master model, well-adapted to modern conditions due to its increased low-range sensitivity.\n\nFor studio interiors photographed on old-type DuPont Superior negative, I have found that setting the meter's film speed scale at a speed value of 20 and taking the light reading with the B or normal arrow on the meter's calculator results in an overall light value midway between calibrations 6.5 and 13, with the camera's lens at f/2.3, yielding a negative print on light 14.\n\nUsing the same film for normal exterior scenes, I set the meter's speed at a value appropriate for the lighting conditions.\nScale at a value of 24. Taking my reading with the B (normal) arrow on the calculator, and setting my camera accordingly, I obtain a negative which also prints on light 14.\n\nOn exterior scenes, of course, this reading may always be taken as a basic exposure, to be modified as necessary by reducing the shutter aperture, applying filters, and so on. It may also be observed that in some instances the speed values I have used differ somewhat from those in the Weston table. This is to be expected due to differences in laboratory processing, and in some cases in the effect desired.\n\nThe Weston engineers themselves specify that their ratings are based on averages, and should be modified according to individual practice.\n\nDuPont Superior \u2014 Type II.\n\nAt this writing, I have had the opportunity to use the new and faster DuPont film.\nFor interior scenes, I recommend using Theodor Sparkuhl, A.S.C., a veteran cinematographer (left). He is observing Robert Paige's rehearsal for \"Opened by Mistake,\" directed by George Archainbaud (center) at Paramount. To achieve the best results, use a film speed setting of 40. With this setting and the B (normal) arrow for reading, an overall light reading that places the needle midway between the 6.5 and 13 calibrations results in a negative that prints on light 15. My typical lens setting for interiors using this film is f/2.8. Those who prefer to photograph interiors at their lenses' maximum aperture and with greater reductions in light will need to adjust their meter technique accordingly. Similarly, those who favor higher light-levels and smaller stops will also have to modify their methods.\nWhile the newer, faster emulsions have largely supplanted Eastman's Super-X in studio work, my findings with this film may be of interest. For interior scenes, I used a speed value setting of 16 for Super-X, with my procedure the same as when using the old type DuPont Superior. To obtain an overall light-value reading midway between 6.5 and 13, use the B arrow. For December, 1939, take the reading with the lens stop at f.2.3, and the resulting negative will print at light 14. For exterior scenes, I have had the best results with a speed value of 20 for Super-X, and proceeding normally. The resulting negative prints on light 14.\n\nUsing Eastman Plus-X for ordinary:\n\n(No specific findings mentioned for Eastman Plus-X in the text)\nI have found a speed setting of 32 for excellent results in interior scenes. The reading is taken with the B (normal) arrow on the calculator. A light-value of exactly 6.5 gives a negative that prints on light 13. The diaphragm stop I used was f/2.5.\n\nI have frequently heard the complaint that no existing meter will give accurate results in making transparency or back projection process shots. I welcomed the opportunity to experiment in this direction after obtaining the new model meter. Although the tests were only made on a limited number of scenes in two productions, I believe I have established a technique for using the meter in making such shots.\n\nAn overall reading is taken under the background plate being projected. The tests were made using Plux-X negative.\nFor this type of shot, I have found it necessary to use an artificially high speed rating. I set the meter for a film speed of 100. Then I take my reading with the A or half normal exposure arrow on the calculator. Under these conditions, and with the background projector in operation, I have found that for night-effect scenes, an overall light-value of 1.6 will give a negative which, being exposed at f.2.6, will print on light 17. For transparency day-effects, I use the same technique - that is, a speed setting of 100, and taking the reading with the A narrow. Taking my reading in this manner, I have found that an overall light-value of approximately 3 results in an exposure of f.2.8 and a negative (on Eastman Plux-X) which prints on light 17.\n\nPractical Shots at Earl Carroll\u2019s. As I write this, these experiments have just paid practical dividends in solving\nA somewhat unusual problem. Paramount is planning a picture called \"A Night at Earl Carroll's,\" set at Hollywood's most spectacular cafe-theatre. Due to the intricate construction of the multiple revolving stages that are an integral part of this theatre's revues, studio executives decided it would be more efficient to film some of the spectacular numbers in the actual theatre during a performance than to attempt to reproduce them in the studio.\n\nOne afternoon recently, I received a sudden call to make tests that night during an actual performance at Carroll's. Since none of us were familiar with the precise routine of the show, we agreed to go that evening merely to study the acts while I made preliminary tests with my Leica. The next night, we loaded a cine camera with the new Du Pont Type II film and set it up.\nI. Testing Motion Picture at Earl Carroll's Theatre-Restaurant.\n\nWe proceeded to conduct actual motion picture tests. Since we were photographing an actual performance, only the usual theatre lighting was possible. This naturally included many colored light-effects.\n\nFrom my position at the rear of the house, I took a reading with my meter. The light-value was 1.6; hardly enough, it seemed, to make possible an exposure. But I recalled that this was the same light-level I had found in testing the meter for transparency night-effects. Moreover, the lighting appeared visually to be very similar to the levels I knew were used in transparency shots.\n\nSince this impression was confirmed by the meter's reading, I made my shots with confidence, using a full-aperture exposure.\n\nTwo of Cinematographer Spa?-kuhl's Leica test exposures made during an actual performance at Earl Carroll's theatre-restaurant are shown here. The new DuPont Superior Type 11 negative was used.\nThe 50th second exposure at f: B.c was used, the same exposure given by the motion picture camera instead of f.2.6 for transparency night-effects. The results were surprising; the exposure was not only adequate but even somewhat overexposed, printing around light 17. In total, over 20,000 feet of film were exposed during the two performances that evening - Du Pont Type II for the first show and Super-XX for the second as a safety measure.\n\nThese scenes, intended for tests as previously stated, proved satisfactory and have been decided to be used in the actual production. They will be used as cuts, montages, and the like. Additionally, they have demonstrated the feasibility of filming actual production scenes.\nIn the theatre, preference is given to Reflection Readings. In conclusion, it may be observed that while this technique of using a meter provides an excellent guide to overall illumination values and printing densities, it does not and cannot indicate anything concerning the balancing of lighting. This is the proper function of the meter, as all cinematographers strive to maintain consistent printing densities, but no two of them balance their lighting in the same way, even though they may employ identical overall illumination levels and exposures. Taking reflected-light readings from the camera position is, I believe, the quickest and most satisfactory method of using a meter. I realize that many extremely capable cinematographers favor incident-light readings, taken on the key light from subject position. But to me, this admits a possibility of error due to the subject's reflectivity and the varying intensity of the key light.\nUntil recently, the accepted method of recording by the variable density film method has utilized conventional positive emulsions. This film has a grain such that to keep the noise to a tolerable state, electrical noise reduction is necessary. However, the key light may give the correct reading in itself, yet the overall illumination, especially when varying reflective values of sets and costumes are considered, may easily be insufficient to give the desired printing density. With a reflected-light reading, on the other hand, the meter's indication is more reliable.\n\nFigure 2\n\nUse of Fine Grain Positive Emulsions for Variable Density Film Recording\nBy John K. Hilliard\n\nUntil recently, the accepted method of recording by the variable density film method has utilized conventional positive emulsions. This film has a grain such that to keep the noise to a tolerable state, electrical noise reduction is necessary. However, the key light may give the correct reading in itself, yet the overall illumination, especially when varying reflective values of sets and costumes are considered, may easily be insufficient to give the desired printing density. With a reflected-light reading, on the other hand, the meter's indication is more reliable.\n\nFigure 2.\n\nBy John K. Hilliard\n\nUntil recently, the accepted method of recording by the variable density film method has been to use conventional positive emulsions. This film has a grain that requires electrical noise reduction to keep the noise at an acceptable level. However, the key light may give a correct reading, but the overall illumination, particularly when considering the reflective values of sets and costumes, may not be sufficient for the desired printing density. With a reflected-light reading, the meter's indication is more dependable.\nApplication of modulation causes a variation in noise with the degree, at times resulting in disturbing intermodulation. The size of grain in film emulsion was one of the first recognized limitations for how quiet film sound recording could be. In the early days of sound, the most practical choice for a film medium was ordinary positive stock, which had the merit of being relatively fine-grained, in addition to its other qualifications of speed and contrast. This selection was only a matter of expediency, and ultimately, the whole question of grain structure and its effects on the sound product would have to be worked out. Grain size and clumping characteristics in picture emulsion had always been issues.\nThe study of background process stocks and higher speed fine-grain negatives and duplicating stocks has yielded remarkable results in recent years. For a long time, it seemed that reducing grain size in any emulsion came only at the expense of speed. However, it has only been a relatively short time since the availability of high-speed fine-grain stocks for picture purposes due to the progress made in the use of more advanced methods of emulsion making, which have enabled film manufacturers to produce fine grain without a loss in speed.\n\nConsidering the probable delay in securing improved fine-grain sound film emulsions, the activities of sound engineers were initially directed toward synthetic methods of reducing film noise, resulting in the notable achievements.\nmethods of producing electrically operated noise reduction, of push-pull and its variations, the squeeze track and pre- and post-equalization. All of these have served an important part in noise reduction in the final product, and it is probable that certain elements of them will always continue to be necessary in order to secure the maximum practicable effective reduction. That is, they will be needed to augment the noise reduction which can be obtained in the film itself.\n\nWith all of the regular electrically operated noise reduction devices, there is inherently a time element in their operation which in general produces deleterious effects. These may be minimized only by careful choice of the elements used and the degree of reduction attempted.\n\nIf, therefore, quiet background film emulsion could be found which was adaptable to sound recording, an improvement in noise reduction could be achieved.\nMediate forward steps could be made. Such a step was made possible some time ago for variable area recording, as the speed requirement was less severe. For variable density recording, progress was slower and practical recording was made possible only about a year ago. Early in 1938, tests on type 1365 film indicated the stock was too slow for recording. However, prints could be obtained on this stock, and these showed the noticeable reduction in background noise and general improvement in quality as a result of fine grain.\nSearch for a faster fine-grain stock began, realizing that its use in both original and release prints would produce superior results. In 1938, attention was brought to the Dupont 216 type stock which appeared to offer definite possibilities. Test work was commenced to determine experimentally if we could achieve in negatives as well as in the prints the quality and noise improvement which had been predicted by the preliminary experiments.\n\nWe were fortunate in our use of the 200 mil type of push-pull as the nature of the optical system and valve is such that we obtain twice the film exposure that the 100 mil standard system obtains, with equal lamp supply, with no change in intermodulation due to the size of the valve image at the film. A very definite improvement was noticeable, but another serious problem was:\n\n\"unclear\"\nThe difficulty of processing fine grain negative in standard solutions and in regular machines without adjustment that interferes with production was raised. The Dupont Film Manufacturing Company, which had been following the experiments with interest, suggested another type of emulsion that would have further improved speed characteristics and would more readily lend itself to production processing. With the availability of this stock, the 222 type, progress has been much more rapid as it has permitted the film laboratory to more effectively enter the problem and handle the film. Some months ago, after many tests, the decision was reached to go into normal production on all musical recordings and to work toward the adoption of fine grain negative for all production.\nThe production use of fine grain negative for recording was gradual, starting in January of this year. The entire studio product is now recorded on DuDont 222 type fine grain negative. Early tests using fine grain original prints for rerecording or dubbing indicate a great improvement in quality and noise. The next greatest saving came from using fine grained material for the original negative. Following these two uses, the more refined improvement came from using fine grained stock for all four processes: original negative, rerecording print, rerecorded (or released) negative, and lastly, the release print. Consequently, we chose to concentrate first on the rerecording prints, and for over a year, all prints for this purpose have been made on fine grain stock. Next came the use of fine grain stock for the original negatives.\nFor several months, the use of original sound stock has been a fact at this studio. During this time, efforts were made to determine the practicability of using the stock for release negatives. Several pieces of special material have been released with the expectation that all M.G.M. sound releases will be on fine grain negative at an early date. The final step, the use of fine grain stock for release prints, is the most difficult economically, not technically. The successful collaboration on the production \"Geromino\" by Paramount clearly demonstrates that an easily recognizable quality improvement can be obtained in both picture and sound through the use of such a release.\nThe medium's adoption hinges on cost, which cannot be properly discussed here. Sensitometric tests revealed that the speed of the 222 stock was one sixth that of ordinary positive film. To secure the necessary exposure, incandescent lamps pushed to maximum safe temperatures were sufficient for original recording where the optical system's efficiency is greater. Various mercury arc lamps of the high-pressure type were also tested.\n\nDue to the wide variation in spectral quality, the type of exposure obtained from these different sources also varied. The emulsion that yielded the best results for negative and print was a rather high gamma infinity stock (3.5-4.0) in comparison to the regular positive emulsion (2.5-3.0). This high gamma infinity stock in turn necessitated a change.\nWhen developing and printing film, the method can result in different gamma values depending on the spectral distribution of the light. With light sources like mercury vapor lamps and ultra violet filters, the developed gamma differs from the control gamma obtained with tungsten light. Since the departure of this difference cannot be measured directly until sensitometers and densitometers are equipped with the same quality of light as the recording and printing light, dynamic tests such as intermodulation and harmonic analysis must be used.\n\nThe difference between the product of negative and positive control gamma and true unity gamma has been due to several factors including print and projection conditions, measuring and reproducing equipment differences. Measured gammas, which include these factors, show unity gammas as:\n\n536. American Cinematographer \u2022 December, 1939\n\nThe method of developing and printing film can result in different gamma values due to the spectral distribution of the light. With light sources like mercury vapor lamps and ultra violet filters, the developed gamma differs from the control gamma obtained with tungsten light. Since the departure of this difference cannot be measured directly until sensitometers and densitometers are equipped with the same quality of light as the recording and printing light, dynamic tests such as intermodulation and harmonic analysis must be used.\n\nThe difference between the product of negative and positive control gamma and true unity gamma has been due to several factors including print and projection conditions, and differences in measuring and reproducing equipment. Measured gammas, which include these factors, show unity gammas as:\nIndicated by electrical densitometer readings currently made. Sensitometric tests indicated that the actual gamma was approximately 30-40% higher than the indicated gamma by conventional methods. This difference in gamma was a result of the fine grain structure, which caused a marked difference in scattering of light when transmitted through the film.\n\nFurther tests indicated that ultra violet exposures would reduce the effective gamma of the negative by approximately 10%. When ultra violet exposure is applied to the print, up to 30-40% reduction in gamma could be obtained.\n\nWhere changes in printer light are made in the release print to secure changes in volume from scene to scene, more latitude can be had where ultra violet printing is used, and considerably less distortion will result in obtaining this.\nThe desired volume range. Ordinarily, where original recorded material is rerecorded, the high frequency loss has been quite considerable. And where five grain film has replaced all four steps in original and release recording, an improvement in the 8000 cycle signal-to-noise ratio has been obtained.\n\nThe various frequency response curves for different stocks are indicated in Fig. I. The top curve would also represent a 222 print, as no difference in frequency response is noted between this type film and 1301 normal positive in an ultra violet print.\n\nThere is also an added increment in overall quality, due to the large reduction in background breathing when electric noise reduction is used. As a result, the intermodulation between film noise and the signal is much lower.\n\nThe type of mercury arc lamp which has been used to secure greater illumination is not specified in the given document.\nThe Tungsten lamp provides more illumination than a 250 watt, 250 volt lamp. When more illumination is needed than what can be obtained from this lamp at 85 watts, a forced air stream is used around the quartz bulb. This allows the use of the lamp at 200 to 300 watts with a significant increase in illumination. The lamp's illumination is kept constant by a motor fan. Its speed is controlled by the voltage drop of the arc. Several short subjects have been released where fine grain film was used in the original process and no electrical noise reduction was applied.\n\nTungsten lamp provides more illumination than 250 watt, 250 volt lamp. For greater illumination than what can be obtained from this lamp at 85 watts, a forced air stream is used around quartz bulb. Lamp can be used at 200 to 300 watts with significant increase in illumination. Lamp's illumination kept constant by motor fan; fan speed controlled by voltage drop of arc. Several short subjects released using fine grain film in original process, no electrical noise reduction applied.\nTo the original negative, which was of the wide push-pull pre-equalized type, and its overall signal-to-noise ratio was:\n\nDecember, 1939\nAmerican Cinematographer 537\nSparkuhl Tests New Weston\n\nImmediately tells whether the average overall illumination plus the reflective factors involved are or are not capable of giving the desired overall exposure, and hence the desired printing value.\n\nWith this assured, the cinematographer may balance his lighting to suit his own technique and \u2014 more importantly yet \u2014 the photodramatic effect desired, entirely confident that his basic exposure value will remain such as to give the desired overall density.\n\nTo my mind, this method allows infinitely more complete control of the artistic variables of lighting, while maintaining the purely technical matter of exposure.\nThe overall exposure should ideally be free from variation. Once the cinematographer has tabulated a system of this type, coordinated with his personal lighting technique and the standards of the laboratory processing his film, the use of a meter can speed and simplify his work. If he prefers to do most of his work at a fairly constant lens aperture, all that is necessary is to build up the overall light-level until the desired reading on the meter's primary scale is obtained. Then, without reference to the calculator, he can shoot his scene, confident that his overall exposure - and hence the correctly exposed image - will result.\n\nWhen T. E. Shea, engineering vice president of Electrical Research Products, Inc., arrived in Hollywood recently, he was a guest at a luncheon attended by sound department heads of several major studios. Among those present were (unclear).\nStanding (from left): Tom Moulton (United Artists), Loren L. Ryder (Paramount), E. H. Hansen (Twentieth Century-Fox), John P. Livadary (Columbia), Jack Whitney (General Service Studios. Seated: T. E. Shea (Vice President), Clifford W. Smith (Hollywood vice president of Erpi), and Bernard Brown (Universal.\n\nPhoto by Pat Clark, Hollywood.\n\nJanuary Issue\n\nThe American Cinematographer will start off 1940 with a bang. Among leaders already in type and itching to go are:\n\nA fine story for professionals and amateurs on Photoelectric Exposure Metering by Captain Don Norwood, USA, retired.\n\nMaking Modern Matte-Shots, Article II, by Byron Haskins, A.S.C.\n\nA short technical article on Obtaining Increased Illumination for Fine Grain Film Recording, by O. L. Dupy and John K. Hilliard.\n\nA helpful article by Edward Kearns, assistant cameraman, on how greatly to add to the speed and convenience of fine grain film recording.\nThe convenience of routine camerawork. Printing density \u2014 will be correct and consistent. Balancing the light will remain, as it should be, a matter of an individual's taste. Admittedly, there could be sufficiently great errors in light-balancing to produce an erroneous overall meter reading; but among cinematographers of standing, the possibility of such misjudgment is vanishingly small.\n\nIn general, the use of overall reflected-light meter readings of this type will, I believe, tend to minimize and simplify another routine cinematographic problem, while at the same time leaving the cinematographer the fullest freedom in expressing his individuality through lighting balance.\n\nChicago Cinema Club\nThe oldest incorporated amateur cinema club in the United States has a new board of officers: E.J. Hamme, president; J.R. Mollan, vice president.\nLilly C. Thye, secretary; Sherman Arpp, treasurer; board of directors: H.W. Clark, Joseph Stout, Edward Bezazian, and A.G. Diderickson.\n\nUnited States exports of positive motion picture film decreased by more than 27 million feet during the first nine months of the year compared to the corresponding period of 1938, according to a study prepared by Nathan D. Golden.\n\n538 American Cinematographer \u2022 December, 1939\n\nWith the popularization of the modern moving camera technique, there has been an increasing trend toward the development of camera supporting units capable of serving as virtually a universal camera carriage for use not only in stationary but in most types of moving-camera shots. Physical bulk and weight have been consistently limiting factors, as have operational facility. Accordingly, we have seen the evolution of units that offer a compromise between these considerations.\n\nFor instance, the Arriflex 35-I, which was introduced in Europe last year, is a compact, lightweight unit that can be used for both stationary and moving shots. It is particularly suitable for use with the Arriflex camera, but it can also be adapted to other makes. The unit weighs only 35 pounds, and its dimensions are such that it can be easily transported in the trunk of a car.\n\nAnother unit that has gained wide acceptance is the Mitchell Standard Camera Mount. This is a versatile unit that can be used with a variety of cameras, including the Arriflex, Bell & Howell, and Mitchell. It is designed to be easily adaptable to different camera sizes and configurations, and it offers a high degree of operational facility. The unit weighs about 100 pounds, and it is equipped with a number of features that make it particularly suitable for use in moving shots, such as a quick-release mechanism for the camera plate and a counterbalance system for the camera arm.\n\nThe Eclair Cameflex, which was introduced in France in 1937, is another unit that has gained wide acceptance. It is a compact, lightweight unit that can be used for both stationary and moving shots. It is particularly suitable for use with the Eclair Nagra camera, but it can also be adapted to other makes. The unit weighs only 22 pounds, and its dimensions are such that it can be easily transported in a small car or on a motorcycle.\n\nThe Arri-Blocke, which was introduced in Germany last year, is a heavy-duty unit that is particularly suitable for use in studio work or for large-scale outdoor productions. It is designed to support cameras weighing up to 1,100 pounds, and it offers a high degree of operational facility. The unit is equipped with a number of features that make it particularly suitable for use in moving shots, such as a counterbalance system for the camera arm and a quick-release mechanism for the camera plate.\n\nIn conclusion, the trend toward the development of universal camera carriages that can be used for both stationary and moving shots is continuing, and new units are being introduced that offer a compromise between physical bulk and weight and operational facility. The Arriflex 35-I, Mitchell Standard Camera Mount, Eclair Cameflex, and Arri-Blocke are just a few examples of the types of units that are currently available. These units are making it possible for cinematographers to achieve a greater degree of flexibility and creativity in their work.\nTwo principal types of camera carriages exist: on the one hand, there are various small, mobile ones like the \"rotanibulator\" and the \"velocilator.\" On the other hand, there are larger crane or boom-type units capable of lifting a camera and its crew twenty or thirty feet in the air. In some cases, intermediate-sized cranes have been built, but their use has been limited due to design and operational problems. Nonetheless, it has been generally admitted that if a single device capable of fulfilling all the camera-carriage requirements of modern technique, except for those demanding the use of the largest cranes, were available, production would have gained a valuable tool.\n\nDesigned by Arnold,\nA new type of intermediate-sized boom, apparently incorporating most of these desirable features, has been placed in production.\nThe Metro-Goldwyn-Mayer studio features a versatile and advanced camera system designed by Camera Chief John Arnold, A.S.C. This crane-arm or boom type device, with a 9-foot boom carrying an underslung camera mounting, allows the camera to be placed on the stage floor or lifted to a maximum height of 16 feet. The entire boom arm can be raised or lowered using a motor-driven, helical hoist. The boom arm rotates freely through a full 360-degree horizontal circle, and the camera-head can be panned through a full 360-degree circle independently and quickly. The tilthead also operates through a 360-degree vertical circle. The device is considerably lighter.\nThe unit can be operated much easier than any comparable one. Radically new principles of construction have been employed throughout, and full use has been made of modern, lightweight, high-tensile alloys and stainless steels.\n\nTubular Chassis\nThe chassis is of unusually simple tubular construction. Instead of the usual channel sections conventionally used for this purpose, the main frame consists of a single tube of high-tensile steel. Welded to this, at right angles, are two smaller tubes forming the axles. No springs are employed, as these devices are used invariably on special plank or metal tracks. The camera chief, Arnold, operates the quick-action pan on his new camera carriage. Note underslung camera mounting and inverted periscope on finder. Fourteen\nThe wheels turn under Arnold's hand, panning the camera through a full circle; it tilts as well, allowing full-circle rotation, especially with the camera at the end of a long boom. All four wheels are fitted with solid-rubber truck tires and are mounted in conventional steering knuckles. The rear wheels, however, are currently locked in a non-steerable position, though the design makes provision for rendering them steerable if any future need arises. The front wheels are steerable, controlled from an automobile-type steering wheel mounted before an underslung seat on the left side. The design is such that the steering wheels may be turned almost parallel with their axle for sharp maneuvering. A fifth wheel is provided at the rear of the tubular main frame. This may be dropped down to raise the rear end from the rear wheels, so that the device can be transported more easily.\nThe \"Rotambulator\" Type Hoist: This tubular frame is turnable in its own length or movable sideways into position. All four service wheels are ball-bearing equipped.\n\nTop: With the new boom and under-slung camera mounting, the camera can literally be lowered to the stage floor.\n\nCenter: At ordinary elevations, the boom may be used instead of a conventional tripod or perambulator, leaving space around the camera absolutely free. Note upper mounting for a second camera.\n\nBottom: At maximum elevation, the upper camera is sixteen feet above the ground. In this photograph, the boom arm has not been raised to the top of its hoist-travel. Note wheel at left end of boom by which the counterweight is shifted.\n\nBy William Stull, A.S.C.\nDecember, 1939 - American Cinematographer 539\n\nThe camera, with the new boom and under-slung mounting, can literally be lowered to the stage floor. At ordinary elevations, the boom may be used instead of a conventional tripod or perambulator, leaving space around the camera absolutely free. Note the upper mounting for a second camera. At maximum elevation, the upper camera is sixteen feet above the ground. In the photograph, however, the boom arm has not been raised to the top of its hoist-travel. Note the wheel at the left end of the boom by which the counterweight is shifted.\nfor balancing purposes, a power-driven helical hoist raises or lowers the entire boom-arm assembly. Photos by Durward Graybill and Frank Bjerring.\n\nA power-driven helical hoist, strikingly similar to that employed in the \"rotambulator\" - another of Arnold\u2019s inventions, is mounted on this. The crane arm slides up and down this main shaft in a friction mount. It is propelled upward or downward by a suitably proportioned screw paralleling the main shaft.\n\nThis screw or helix is rotated by a 0.75 hp DC motor which is controlled through a General Electric DC reversing circuit and controller. Automatic stop switches limit the upward and downward travel of this unit.\n\nThis hoist is not primarily intended for changing the height of the camera during a scene, but instead for more accurate positioning, after which the camera is adjusted.\nThe boom arm raises or lowers the camera. The drive, although quiet, is not noiseless. It is also low-geared to simplify construction.\n\nThe crane arm itself embodies a type of construction never before applied to this type of studio equipment. Instead of the conventional girder or box-truss construction, this arm uses a stressed-skin or \u201cmonococque\u201d construction. The arm is constructed of four ten-gauge sheets of high-tensile steel, welded together to form a long, tapering box girder. This boxlike construction is reinforced at approximately 6-inch intervals with transverse bulkheads of the same alloy, welded into place.\n\nThe result is a boom of unusually light weight, yet of remarkable strength. From an engineering viewpoint, it is strikingly similar to the monococque construction.\nThe most modern transport and racing airplanes feature fuselages where the bulk and weight of longitudinal girders are eliminated by a strong skin capable of withstanding stresses normally taken by longitudinal beams, reinforced with stiffening transverse bulkheads. Underslung Camera Mount The outer end of the boom arm curves upward for increased clearance. At its end is the camera mount, which is of the underslung type.\n\nThe use of 16mm film, in the form of reduction prints, dupe negatives, and prints, as well as direct 16mm negative and prints, is increasing in both commercial and private laboratories. These laboratories are confronted with the technical problems of handling both standard and sub-standard film with a minimum of equipment. In large plants, these problems are particularly significant.\nMinimized, since separate units, especially developing machines, can be devoted to each class of work. But in a majority of the plants doing such work, conditions seldom permit such a practice. It is highly desirable that such equipment be able to process both 35mm. and 16mm. film, and if possible, both negative and positive, interchangeably. However, several mechanical problems make this difficult.\n\nRecent modifications in the design of the well-known Art Reeves automatic developing machine are held to eliminate these difficulties and to permit the machine to be used interchangeably for processing all types of film.\n\nOne of the outstanding practical problems has been simplifying the operation of rethreading the machine when changing from 35mm. to 16mm. film. In most conventional designs, this must be done by hand, involving both trouble and loss of time.\nThe rollers carrying the film through the machine are of recessed construction, with the standard film carried on the outer edges, and 16mm. riding within the recessed portion. Due to this construction, the 16mm. film, moving on smaller rollers, travels at a lower speed than the 35mm. film.\n\nCompensated Take-Up\n\nOnce the machine is completely threaded with film of either size, this differential is of no consequence. However, when 16mm. is connected to a strand of 35mm. already in the machine, and the latter is used to pull the smaller film through the unit, a serious problem arises.\n\nThe take-up, which is proportioned to the travel of the larger film through the machine, tends to pull the strand through faster than the smaller roller-segments can feed the 16mm. film through. The result is usually enough tension to snap the strand.\nIn  the  Reeves  machine  this  is  now \ncompensated  by  an  additional  fi'm-loop \nbetween  the  dry-box  and  the  take-up \nreel.  This  passes  through  a  driving \nroller  which  is  so  interconnected  with \nthe  drive  and  take-up  reel  that  the \ntake-up  can  only  revolve  at  a  speed \ncoordinated  with  the  lower  peripheral \nspeed  of  the  rollers  when  threaded  with \n16mm.  film. \nThus  the  take-up  tension  remains \nnormal  at  all  times.  With  this  refine\u00ac \nment,  it  is  not  only  possible  to  use  the \nPlan  of  Art  Reeves  inter-changeable \n16mm.-35mm.  developing  machine.  Dotted \nline  at  takn-off  end  indicates  path \nthrough  compensating  roller. \nlength  of  35mm.  film  or  leader  in  the \nmachine  to  rethread  it  with  16mm. \nleader,  but  to  clip  a  roll  of  16mm.  film \nto  the  end  of  a  length  of  35mm.  film \nbeing  processed,  and  to  develop  16mm. \nand  35mm.  consecutively,  with  no  more \ndelay  than  occurs  in  clipping  a  fresh \nRoll standard film to the end of the strand.\n\nWide Range of Developing-Times\n\nThe fact that 16mm. negative, for the best results, usually requires processing in solutions of greater fine-grain characteristics than those ordinarily used for 35mm. negative raises another problem. These ultra fine-grain developers almost always require a considerably longer developing time, often double that normally used for 35mm. negative.\n\nIn the Reeves machine, this type of specialized treatment is made more feasible by the use of an infinitely variable speed control. This consists of a special transmission-unit between the driving motor and the machine. It permits variation of developing time between two and 20 minutes.\n\nThe machine is further instantly interchangeable between positive and negative processing. Separate tanks are provided for the positive and negative processing.\nsolutions. Both of these sections are normally kept threaded at all times. In the section not in use, the film leader is simply disconnected from the strand, and allowed to hang loosely in the tank, with the two ends held in.\n\nDecember 1939, American Cinematographer 541\nAt Year\u2019s End \u2014 At Year\u2019s Beginning \u2014 Day By Day- Everyday \u2014\nEASTMAN PLUS X NEGATIVE\n\nThe daily diet of The Conscientious Camera!\n\nJ. E. Brulatour, Inc. - DISTRIBUTORS -\nMillet's Bluebird to be Shown on Road\nArthur Miller, A.S.C., finished work during November on Twentieth Century-Fox\u2019s production of \u201cBluebird,\u201d the famous phantasy of Maurice Maeterlinck, Belgian writer. The cast was topped by Shirley Temple. The subject was made in a pretentious manner, befitting the elaborate stage presentation in New York at the Century Theatre thirty years ago and the rank of the production.\nThe production company made a decision during the past month not to release the picture in the usual manner due to its size. Instead, they plan to send it out as a roadshow or special. Miller won the photographic award in the Reporter's poll for September for his work on \"The Rains Came.\" He won despite stiff competition.\n\n\"In photographing the story of 'The Rains Came,' there were many elements entering into the problem,\" Miller declared upon receiving the award. \"Of course, after you got about a quarter of the way into the picture, the rains started and from that point they didn't do anything else but keep right on. But that was only one side of it. There was a good story, and there was a...\"\nClarence Brown, a good director with a strong affinity for realism, expressed his feelings during the production of a picture: \"I had a feeling, as you asked when working on the film, that I was doing a better job than I had in years. I didn't feel that I was any better or any different from what I usually tried to do and be, but I was truly taking advantage of the numerous opportunities presented to me.\"\n\nThe creation of a picture today differs significantly from what it was when Arthur Miller began working behind a camera. This was during a time before the era of large production companies. It was during the days of the cinematograph. Arthur Miller, Shirley Temple's cameraman, relaxes during the making of Fox's \"Bluebird\" as the little actress rehearses her lines.\nUnder Fred Balshofer in earlier days, Miller worked at both the camera and laboratory. The studio functioned as a beer garden at night. Furniture was used for properties during the day and for beer hall patrons at night. Pictures were shot and developed and printed in the lab during the night.\n\nBy 1911, Miller had acquired so much information through Balshofer's training that he was offered a position at the Gaumont News, which he accepted. In 1912, he transferred to the Pathe Studio in Jersey City, where he photographed the serial \"The Perils of Pauline,\" featuring Pearl White. This was one of the earliest serials. Crane Wilbur, the hero of \"The Perils of Pauline,\" is now at the Warner Brothers' studio.\nGeorge Fitzmaurice, one of the first scenario writers in any studio, was promoted to a directorship, and Miller was assigned to travel with him. In 1919, Miller came to Hollywood with Fitzmaurice to work for Goldwyn. In 1925, he went to the C.B. DeMille studio, remaining for six years. After less than a year at Warner Brothers, he removed to his present home at Twentieth Century-Fox.\n\nHollywood Goes to South America\n\nSouth America will not have to come to Hollywood to secure motion picture equipment. Hollywood is taking the equipment to South America. Lucio Villegas, who has been working in pictures for the last twelve years, has been commissioned by three prominent Hollywood firms to visit South America in the interest of these manufacturers.\n\nThe firms are Mitchell Camera Corporation and Art Reeves motion picture equipment.\nA native of Chile, Villegas is well-acquainted throughout South America and will be gone for four months, visiting Peru, Chile, Argentina, and Brazil. He will take minor equipment with him, allowing him to finish complete studio and laboratory equipment for South American producers. Kessel and Baumann, who were cameramen, would also work in the laboratory and learn all the ins and outs of the business. Thirty years ago, a lad went to work for Herman Collie, who operated a small studio and lab in Prospect Avenue, Brooklyn. The man putting this tale on the typewriter lived less than a mile away.\nThe development of flash-globe synchronizers for use with interlens shutters marked an extremely notable advance in motion picture studio still photography. The introduction of synchronized flash not only widened the scope of the stillman's work but improved the quality of many pictures which could conceivably have been made without the flash. However, this advancement left something to be desired. This was the use of synchro-flash technique for making extreme high-speed acting shots. Ironically, this type of work is one which could most benefit from the use of synchronized flash exposures. As is well known, the almost universal use of interlens shutters in motion picture photography necessitated the development of flash synchronization to ensure that the flash and shutter were synchronized, producing a more consistent exposure. The flash-globe synchronizer was a device that allowed for the flash to be triggered at the exact moment the shutter opened, ensuring that the flash illuminated the subject during the exposure. This was particularly important in still photography, where a consistent exposure was essential for producing high-quality images. In motion picture photography, the use of synchronized flash allowed for the capture of clear and well-lit action shots, which were previously difficult to obtain due to the fast motion and the limitations of available lighting. The synchro-flash technique was particularly useful for making extreme high-speed shots, such as those used in action sequences or sports coverage. However, the use of synchro-flash for high-speed shots presented some challenges. The flash duration was relatively short, and the flash intensity decreased rapidly as the distance between the flash and the subject increased. This meant that in order to capture a well-lit high-speed shot, the flash had to be placed very close to the subject. Additionally, the use of synchro-flash required the use of a powerful flash unit, which could be bulky and difficult to transport and set up on location. Despite these challenges, the use of synchro-flash for high-speed shots offered significant benefits. The ability to capture clear and well-lit images of fast-moving subjects opened up new possibilities for motion picture photography, allowing for the creation of dynamic and exciting action sequences that were previously impossible to achieve. Overall, the development of flash-globe synchronizers and the use of synchro-flash technique represented a significant advancement in motion picture still photography, expanding the capabilities of photographers and enhancing the quality and visual impact of motion picture images.\nThe 4x5 Speed Graphic camera is used for making action stills. It is fitted with a Compur inter-lens shutter and a Graflex focal-plane shutter, which can be operated independently. In current synchro-flash work, only the Compur shutter has been used. This is satisfactory for most work but not adequate for high-speed work. The maximum speed of this shutter is only 1/300th second, and in many studios, it has been found wise to restrict these exposures to a maximum of only 1/200th second to guard against mechanical failures. Such speeds are not always adequate for stopping really fast movement.\n\nThe most notable phase of this problem is making stills of the extremely fast-moving dance routines of stars like Eleanor Powell and Fred Astaire. \"Stopping\" their movements.\nThe most commonly used cinematic emulsions are Eastman Plus-X and the new DuPont Type II, both having a Weston artificial light speed rating of approximately 32. Depending on the methods of the individual director of photography, our sets are illuminated to achieve an exposure with these materials ranging from f.3.2 to f.2.3 at the fixed speed of 1/50th second. While the still photographer has the slight advantage of using emulsions like Eastman's Super-X Pan film, which has an artificial light speed of Weston 64, this is still inadequate. The required minimum exposure is from 1/30th second to 1/50th second at f.4.5 \u2013 the average maximum aperture of still-camera lenses \u2013 and around 1/10 second.\nWhen the lens is stopped down enough, it requires a high illumination. A significant increase in illumination would be needed to allow for satisfactory speed in still work. High as the illumination levels demanded for Technicolor or slow-motion cinematography may seem, they are not yet enough for high-speed still work of this type. For instance, when we were making some boxing shorts with Max Baer, and had the set lit for extreme slow-motion cine work, I found that the minimum exposure I could give my stills was about 1/135th second; if I shot at even 1/150th, the synchro-flash stills of Fred Astaire are the first high-speed action shots of dance-routines made on the set. Note how the 1/550th second focal-plane synchronized flash exposure \"stopped\" even the rapid movement of hands and feet. (Photo by Milton Brown.)\nfifth issue, American Cinematographer, December 1939:\n\nThe second issue, my negative was too thin to be used. The extremely high unit intensity of modern flash-globes - 1,500,000 lumens or more - would obviously solve this problem. But since these globes could not be successfully synchronized with the focal-plane shutter, which alone provided the higher, movement-stopping speeds, the problem seemed very little nearer solution.\n\nSince the introduction of the wire-filled type of flash-globes, which could be synchronized with the focal-plane shutters of miniature cameras like the Leica and Contax, there has been at least the possibility of using miniatures for this type of work.\n\nBut many of us have found these cameras impractical for studio still work. At M-G-M, for instance, we have come - from sad experience - to regard the 4x5 Graphic as the smallest practical camera.\nFor a good studio to still work. Until recently, we have taken the only possible way out of the problem. We have made many productions featuring Eleanor Powell\u2019s nimble feet; and obviously, we had to have still pictures of her dance-routines. Therefore, she performed her routines especially for the still cameras, on an outdoor set with white walls and a white floor, so that we could employ exposures fast enough to stop her motion. Even so, it was frequently necessary to use a dozen or more reflectors to \u201cfill in\u201d shadows and give us the modeling light necessary for good photography. Facing such a battery of dazzling reflectors is difficult, even for the most willing trouper. Miss Powell was no less eager than we were for good pictures; but rarely, indeed, did we get a series of pictures that was not blemished by squints and blinks.\nDuring the past few weeks, a new type of flash synchronizer has been developed, exclusively for synchronizing Graflex-type focal-plane shutters. This is the Kalart \u201cSistogun,\u201d invented by Philip DeL. Patterson and refined by newspaper photographer Ernest Sisto. It is the first practical synchronizer of this type to appear.\n\nWe have been experimenting with this new accessory, and the results have been gratifyingly successful.\n\nThe Sistogun consists of a very simple contact mechanism actuated by the movement of the Graphic\u2019s focal-plane shutter winding knob. To be precise, the winding knob acts on a small, curved cam to hold the flash-firing contact open. As the knob is turned, the cam presses against the contact, releasing the flash.\nThe exposure is 1/550th of a second at f:8. Photo by Milton Brown. The contact revolves with the shutter's travel, and when the knob slides off the cam, it closes the contact. The contact is tensioned by a very delicate hairspring, allowing it to contact the shutter mechanism only at the start and finish of its travel, and thus unable to exert any braking or retarding action on the shutter. An additional contact is actuated by a plunger operated by the shutter-release lever; only when both contacts are closed can the flash-globe be fired. Therefore, even though the primary contact is closed when winding the shutter, the flash cannot be set off accidentally. Adequate provision is made for adjusting the device for precise synchronization. Two separate adjustments are provided: one to compensate for any ordinary time difference between the camera and flash, and another to adjust for the travel distance of the shutter.\nThe winding knob's positioning variations are not significant; the other is for absolute synchronization. In some cases, additional compensation may be required for shutters with non-standard or older curtains. However, these devices can generally be fitted by a moderately experienced camera mechanic.\n\nSynchronizing High Speeds\n\nThe Sistogun is a natural complement to the conventional lens-shutter synchronizer. It can be used with any battery-box unit that has or can be adapted to take the telephone-type connectors it comes with.\n\nOrdinarily, it can be used with a Kalart battery-box, using either 4 % or 9 volt batteries.\n\nThe conventional inter-lens shutter synchronizers allow for normal sync-flash work up to speeds around 1/200th second. We have found the new synchronizer to be effective.\nThe Sistogun, when fitted with the camera, functions exceptionally well up to and including 1/1000th of a second. This enables us to utilize nearly the entire range of speeds possible with the Graphic.\n\nNotable tests of this device include a series of high-speed shots of Fred Astaire performing a dance routine from \"The Broadway Melody of 1940.\" These are the first speed-shots of a dance routine ever made on an actual interior set. They were taken on the set immediately after filming the dance sequence.\n\nSatisfactory exposure values of our still negatives are a testament to both the accuracy of the synchronizer and the illuminating power of modern flash-globes. They were taken on Eastman Super-Panchro Press cut film, at an exposure of 1/550th of a second at f.8.\nIn December 1939, the editor of American Cinematographer received a letter from A.B. Hager, manager of the Rex Theatre in Idaho Falls, Idaho. The letterhead stated the Rex was \"playing the best in vaudeville, musical comedy and road shows and feature pictures\" and that \"we take motion pictures for advertising, commercial and educational purposes \u2014 cameramen will go anywhere.\"\n\nHere is the letter:\n\n\"I saw some shots in an Eastern trade magazine a couple of weeks ago \u2014 that of Bill Hart, taken in 1914; also Cecil DeMille, looking through one of his first films.\"\nI am including some clippings I found among my souvenirs on the above-mentioned subjects. The following are cut-outs of the Fitzsimmons-Jeffries fight pictures, taken June 2, 1899, at Coney Island, New York.\n\nThese same pictures were shown in Los Angeles that year, as my brother and I had a store show in Spring Street between Second and Third. If you wish to use these in your magazine, please feel free to do so, or perhaps some of the ace camera men in Hollywood would be interested in seeing how pictures were made forty years ago. At any rate, if you cannot make use of them, please file them in your wastebasket and we will still be friends.\n\nPre-Fine Grain.\nThe inclosures were the pictures here shown, positive prints of the historic scrap. The editor was advised by a very wise and efficient photofinisher that the chances were against a reproduction in the magazine. But last month we had occasion to inquire of the engraving department at Wolfer\u2019s plant if a negative could be produced from a couple of positive prints of motion picture film indicating the contrast between fine-grain positive and pre-fine grain positive. The answer promptly was returned: \"We can try.\" Reference to Page 487 of the November issue will show how that was accomplished. This result caused the wily Bill Stull to inquire: \"If Wolfer\u2019s could do what they did with that fine-grain stuff last month, what is to stop them from doing the same with that positive from your friend?\"\nIn Idaho Falls, the archaic prizefight's image. A slight reduction was necessary. The film measured eight picas wide, doubling up would have meant sixteen picas. In a fourteen-pica column, it meant reducing sixteen to fourteen, representing the reproduction's difference from the original.\n\nIn the picture, Fitzsimmons' somewhat bared crown faces the camera in the first column. In the second column, Jeffries walks toward the camera. We don't know the name of the cameraman who exposed these pictures on that summer night forty years ago, but undoubtedly, an account of the evening's incidents would make interesting reading.\n\nTo Mr. Hager, up there in Idaho Falls.\nWe extend our greeting and thanks for the reminder of his own good self, and of four New York Times printers, strolling around Coney Island on a night off \u2013 sad to relate, the night before payday \u2013 watching the crowds entering the auditorium; pooling issues, every last one of them, and keeping right on strolling.\n\nMetropolitan, St. Paul.\n\nHarold E. Piggott, secretary of the Metropolitan Cine Club of St. Paul, sends to club members an attractive and readable bulletin at the first of each month. In his November issue, he states that the Metropolitan is a year old and that the club now possesses thirty members. The club, he says, is the only one of its kind in the city, made up exclusively of men, and, he says further, \"may we add men who really make moviemaking their hobby.\"\n\n\"Among the services rendered by members...\"\nMembers of our club during the past year put on shows for 'shut-ins' at some hospitals, the FBI Police training sound pictures were run for one continuous week at Police Headquarters for the entire Police Department and highway patrolmen, a 400-foot picture was made for Goodwill Industries, which is and will be shown all winter to various service clubs and churches, and for the Department of Education a 400-foot reel was taken of the Lindsey School for Crippled Children's annual picnic. A broadcast entitled 'Moviemaking for the Average Person' was made over Station WMIN, which was well received by the public. It has been decided to make a Club film, consisting of a series of 'gags.' Each member was requested to submit a gag which could be shot with one 'set,' the purpose being to give every member a turn.\nMember an opportunity to participate and thereby study lighting, make-up, camera technique, composition, editing and titling. Cinema Club of San Francisco The November meeting was held on 21st at 1355 Market street and was divided between a showing of two Koda-chrome pictures and a showing of Koda-chrome slides. The pictures were \"The Grand Canyon and Monterey Peninsula\" by Member Russell A. Hanlon and \"From the Mountains to the Sea\" by Member Denis Donohoe. A nominating committee of five was selected to suggest officers and directors for the coming year. 546 American Cinematographer December, 1939 of the American Film Lewis Jacobs in remarkable book names as tops Melies, Porter, Griffith, Chaplin and Disney The Rise of the American Film By Lewis Jacobs Harcourt, Brace & Co., 383 Madison Avenue, New York. 585 pp. Illustrations, 48 pp. $4.50.\n1. E. W. Jacobs has accomplished a great work in the writing of this book. He has begun at the beginning. Painstakingly, he has poured over one-time limited trade papers, film catalogues, heralds, etc. By means of these, he has kept track of all the moves and changes. He has given importance to actions that at the time of their happenings were not regarded as important.\n\nHe has given credit for things accomplished to men long forgotten. He renews permanently to memory the names of many men and some women who might have been passed by in the quick changes.\n\nParticularly difficult will be it to give a fair resume of the multitude of things that he relates. And this is a good place to say that for those who have been at all active at any time in the past thirty or thirty-five years around the picture business.\nThey are not happy unless they own and have stowed away in their homes a copy of this book. This goes for those who have been on the outside for all these years. It's that good; the best yet.\n\nMr. Jacobs acknowledges his thanks to those who assisted him in preparing the book. He specifically mentions Lillian Willis, Iris Barry, Jay Leyda, and Helen Grey of the Museum of Modern Art Film Library. The Museum granted the author the privilege of reviewing films from its collection, previously inaccessible to anyone.\n\nAnother factor in compiling the book were the files used by the Federal Writers' Project in New York, making the work of the Motion Picture Bibliography accessible.\nContents\n\nPart One: Fade-In (1896-1903)\n1. First Stages: Trade, Technique, Pictures\n2. George M\u00e9li\u00e8s: \u201cArtificially Arranged Scenes\u201d\n\nPart Two: Foundations (1903-1908)\n3. Art: Edwin S. Porter and the Editing Principle\n4. Business: Toward National Expansion\n5. Social: First American Story Films\n\nPart Three: Development\n6. The Struggle for Control\n7. D.W. Griffith: New Discoveries\n8. First School of Directors: Specialization of Crafts\n9. Pre-War Films: Significant Trends\n\nPart Four: Transition (1914-1918)\n10. Large-Scale Operations\n11. D.W. Griffith: The Birth of a Nation and Intolerance\n12. Toward Style\n13. Charles Chaplin: Individualist\n14. Movies in the World War\n15. Growing Sophistication of Film Content.\nPart Six: MATURITY (1929-1939)\n\n21. New Affiliations and Consolidations\n22. Refinements in Technique\n23. Contemporary Directors\n24. Walt Disney: Virtuoso\n25. Significant Contemporary Film Content\n\nIris Barry writes in her preface that hundreds of motion pictures are made each year, tons of newsprint commend them, millions of people see them. And in a sense, she continues, \"the whole thing comes to an end: the films disappear from sight, leaving little more than the wholly incalculable effect they have had on their multitudinous audiences.\"\n\n\"Astronomical numbers of tears have been shed, pulses have quickened, unrealized associations have been set up, but a medium that bears so transient a nature...\"\nThe liveliest and most popular art of the twentieth century deserves better than this. Politics and history themselves are ephemeral, but not ill-considered or neglected for that reason. The motion picture is by no means an inconsiderable element in contemporary society. More than this, in a most curious and striking way, the film actually reflects contemporary history as it flows.\n\n\"The Rise of the American Film\" is really a romance. It is the colorful tale of as typical a group of Americans as one could hope to hear of, men and women of every possible kind of nature and origin, irresistibly drawn into a new kind of creative expression.\nThe moving picture was seen for the first time in America on April 23, 1896, which is also believed to be Shakespeare's birthday. The scene was Roster & Bial's Music Hall in New York. According to the New York Times, two blond young persons of the variety stage performed the umbrella dance in pink and blue dresses with commendable celerity. Their motions were all clearly defined. When they vanished, the angry surf breaking on a sandy beach near a stone pier amazed the spectators. A burlesque boxing match between a tall, thin comedian and a short, fat one, a comic allegory called 'The Monroe Doctrine,' and an instant of motion were also shown.\nHoyt's farce 'The Milk White Flag' and a tall blond's skirt dance completed the real and exhilarating views. To Thomas L. Tally of Los Angeles is given the credit for leading the way in establishing moving pictures as distinct feature attractions. In 1902, he began exhibiting films only, charging 10 cents admission, advertising \"The Electric Theatre. For Up-to-Date High Class Motion Picture Entertainment Especially for Ladies and Children.\" In the beginning, pictures were made in the streets. There were no studios, and about the only \"offices\" required were those devoted to a laboratory. According to Jacobs, writing with entire truth, the making of pictures depended entirely upon the ingenuity and ability of the cameraman. He was director, photographer, and laboratory expert.\nCharles Chaplin: Individualist\nDecember, 1939 - American Cinematographer 547\n\nTo think of Charles Chaplin is to think of the movies. Yet this unique actor, director, and producer has added little to movie technique or form. He has been not a technician but a pantomimist, a commentator, a satirist, a social critic. His artistic problems have not been cinematic; they have been personal, always being solved by feeling. His importance lies not in what he has contributed to film art, but in what he has contributed to humanity.\n\nIf he is negligible as a movie craftsman, if he has evolved no new formal aspects to enrich the medium, he has created many moments to enrich society. Chaplin will always be known for his social outlook, his insight into human nature, his pantomimic skill, his artistic individuality.\nThe ingenious development of the incident and his evocation of a mood are what have made Charlie Chaplin significant as a screen artist, rather than any plastic contributions. In the history of American film, no single personality has endeared himself to the world as much as Charlie Chaplin. His presence is as alive as ever in the thousands of 16mm revivals of his work. Every generation takes him to its heart anew. As with all great characters, one sees in Chaplin what one brings to him. Children love him for his humor; adults are moved by deeper meanings, too. Every man recognizes in Chaplin's experiences his own dreams, illusions, problems, and disappointments. This little tramp does what most of us would like to do and see ourselves as doing, but yet cannot bring ourselves to. His frustrations are mankind's; his successes, universal triumphs.\nWhen he laughs, races and nations shout with him;\nwhen he is sad, a sorrowful wail encircles the globe.\nSo readily can his slightest gesture evoke human emotions\nthat he can be truly called the film's miracle man.\n\nWalt Disney: Virtuoso\nOf all the directors in motion pictures today,\nWalt Disney is perhaps the most renowned and acclaimed.\nUndaunted by Hollywood superstitions,\nundeterred by money needs, Disney has brought\nto American films a personal touch, a zeal for quality,\nan appreciation of artistry, and a disdain that is almost\na fear of the \u201cformula\u201d picture. That his convictions\nhave been matched by a distinct talent has been aptly\nand fortunately proven.\n\nDisney has made his animated cartoon the finest expression\nof motion picture art in contemporary America:\nthis despite the fact that so far only one of his films\nhas been mentioned.\nThe hundreds of Disney cartoons have been of considerable length. His pieces have received unanimous praise from artists, intellectuals, children, workers, and people all over the world, even surpassing the praise of superior dramatic films. In the realm of films that combine sight, sound, and color, Disney is still unsurpassed. The wise heir of forty years of film tradition, he completes the cinematic contributions of Melies, Porter, Griffith, and the Europeans. He has done more with the film medium since it added sound and color than any other director, creating a form of great and vital consequence, not only for what it is but for what it portends. He is the first of the sight-sound-color film virtuosos, and the fact that he is still young and still developing makes him an exciting and important figure to watch.\nDisney not only leads in cartoon animation, but surpasses even craftsmen in the realistic story-telling business in skill and imagination. His remarkable ability to produce hit after hit without repeating himself or consolidating successes into cliches speaks for his integrity as well as his ambition.\n\nNo one knows how far Disney may yet go or if, perhaps, he is now in his prime.\n\nOpening of respective chapters on Chaplin and Disney in Lewis Jacobs\u2019 \u201cThe Rise of the American Film\u201d\n\n\"In these early years,\" says the author, \"America had few movie camera men \u2013 at most six. Three of these were to become important figures in the history of American motion pictures: Edwin S. Porter of the Edison Company, soon to become the leading directorial figure in the American screen\"\nJ. Stuart Blackton of the Vita-Graph Company, later an outstanding pioneer director. Billy Bitzer of Biograph, yet to be famed as the camera man of D. W. Griffith. The first cameraman to show individuality of technique was not one of these three Americans, but George Melies (Me-lee-ays) in France. His films, particularly those from 1900 on, pointed the way for a creative technique and led to the discovery of film dramatization, which was to change the whole course of moviemaking.\n\nThe early cameraman's problem was to get a picture. His equipment was bulky and was prone to get out of order. Conveying it from point to point was a job. Once set up, it was seldom changed for another view. The earliest record of \"panning\" was in an Edison Catalogue for 1901-02 and was listed as a \"Panoramic View\":\n\n\"New York in a Blizzard \u2014 Our panoramic view of New York in a blizzard.\"\nThe camera is revolved from right to left and takes in Madison Square, Madison Square Garden, looks up Broadway from south to north, passes the Fifth Avenue Hotel and ends looking down 23rd Street West. Porter's \"The Life of an American Fireman,\" published in 1902, and \"The Great Train Robbery,\" published in 1904, are both treated at length. The author points out these two films assured the permanence of movies. These were followed in 1906 by \"The Dream of a Rarebit Fiend,\" in which technical photographic tricks lifted it to a level which no other picture had attained up to that time.\n\nPorter was undoubtedly stimulated by Melies' work, but his \"Rarebit\" had a cinematic style more advanced and distinguished than the Frenchman's. Both men had used a variety of camera devices \u2014 stop motion, double exposure, masking, moving camera, dissolves.\nPorter's editing knowledge gave his effects fluency and rhythm, lacking in others. In the early days, it had been the cameraman who directed. Gradually, the latter's work became specialized, and the director's role broadened. One of the first directors other than Porter and Blackton was Sidney Olcott, formerly an actor, who in 1923 was selected as one of America's ten best directors. Also, there were J. Searle Dawley, also an actor; Francis Boggs of Selig, from the stage; and Arthur Hotaling, with Pop Lubin since his peddling days.\n\nThe screen identification or at least the mentioning of the cameraman began about 1913, when Biograph named Billy Bitzer for his photography.\n\nDavid Wark Griffith, who first acted in the movies in 1907 under the name Lawrence (Larry) Griffith, concealing his own name until such time as he became a successful director.\nDrew fame if it was to be, directed his first pictures in 1908. In these, he instituted several camera effects which not only have been in use ever since but probably always will be. After making half a dozen pictures, Griffith was moved to try some changes. He had been getting his bearings. He was the first to change the custom of shooting without rehearsal, insisting upon the \u201cwaste of time,\u201d as it was considered, the \u201conce-again\u201d idea as it was to become known. He now determined to try experiments. He took Jack London\u2019s \u201cJust Meat,\u201d changing its title to \u201cFor Love of Gold.\u201d It was necessary to show the point, to make clear to the audience, at which the two thieves of the story began to suspect each other: the double exposure.\n\nBirth of Full Shot.\nIt was a convention that the camera must be fixed at a viewpoint corresponding to that of a spectator in a theatre (the position known as the long shot); the other, that a scene had to be played in its entirety before another was begun (this was a direct carry-over from the stage).\n\nGriffith decided upon a revolutionary step. He moved the camera closer to the actor, in what is now known as the full shot, so that the actor's pantomime would be better visible to the audience.\n\nIt was revolutionary at that time. It established the mobility of the camera, it made possible the breaking up of the scene into different shots, it made entirely unnecessary the former extravagant, unnatural and ridiculous gestures on the part of the actors.\n\nFor the next three months, the full shot became a part of Griffith's repertoire.\nIn November 1908, after considerable thought, Griffith went further. Although a close-up had been used by Porter in \"The Great Train Robbery\" some five years prior, it had not been employed in the meantime. In a screen adaptation of Tennyson\u2019s \u201cEnoch Arden\u201d by Frank Woods, Griffith shocked the studio force by employing a close-up of Annie Lee's face as she awaited her husband's return. He followed this by an insert of a picture of the object of her thoughts \u2014 her husband cast away on a desert island.\n\nCriticism descended. To the charge it was jerky and distracting, Griffith retorted that Dickens wrote that way. Biograph remained worried and continued to be so until the picture was sent out. To the company's surprise, it was discovered that the production had been singled out as a masterpiece and proved to be among the first American films to receive such acclaim.\nFilms can be honored by foreign markets as worthy of importation. The positions of the cutback and closeup were secure. Lighting in \"Pippa Passes\"\n\nThere is a story of Griffith's successful attempt at lighting in \"Pippa Passes\" worth reading, detailing how he created morning, noon, evening, and night. Like the screenwriter, the motion picture cameraman was called upon to develop and refine his work. As photography itself became a more responsible job, division of labor became common; laboratory work was now done by the cameraman's subordinates under his supervision. The cameraman, now a man of position, wielded great influence in production. (Gene Gauntier, Kalem writer and actress of that day:)\n\n\"It was the cameraman who held the temperamental director in check and usually had the final authority on what was filmed.\"\nCould or could not be done. Even as late as 1915 at Universal, there was a brief interval when the camera man was given full authority over all phases of production.\n\nCamera technique depended on good lighting and sensitive films, declares the author. Lighting had been a most difficult problem, he goes on, and it remained one as the practice of manufacturing movies in studios spread. The mercury-vapor lamps threw off a cold, hard light which bared every flaw in the scene and could not be balanced for tonal effects. Many attempts were made, notably by Griffith, to dramatize lighting to enhance the story, but progress was slow and difficult. As for the raw film stock, it still remained contrasty and slow; it could not register subtleties in tone.\n\nAs new companies went into production, more cameramen entered the industry.\nHenry Marvin, Max Schneider, Herman O\u2019Brock, and H. Lyman Broening were notable. Others, too, became famous. William Bitzer made successes out of Griffith\u2019s \u201ccrazy schemes.\u201d Tony Gaudio, cameraman for Laemmle, had a less creative director to work under, but was perhaps more sensitive to the variability of the medium and lasted longer in the industry. (He is still going like a house afire. -- Ed.) Working with many directors, E. Cronjager, Charles Rosher, Faxon Dean, Victor Milner, and John Seitz also made their start and today are still esteemed for their work.\n\nCameramen today grapple less with engineering problems than with those of pictorial design and photographic values,\" says Jacobs. \"Many have gained reputations not only as skillful craftsmen but as artists in their own right, a few have a style which often is the outstanding merit of a film.\n\u201cCameramen  work  in  groups  of  three: \nthe  first  composes  the  lights  and  scene, \nthe  next,  the  operative  cameraman,  ac\u00ac \ntually  shoots  the  scene,  and  the  third  as\u00ac \nsists  him.  Often  pictures  employ  several \ncrews  at  one  time. \n\u201cOf  the  hundreds  of  cameramen  active \nnow,  many  of  the  leaders  have  come  up \nfrom  the  \u2018silent\u2019  days.  New  talent  that \nhave  emerged  are  Karl  Freund  (The \nGood  Earth,  Camille),  Karl  Struss  (Sun\u00ac \nrise,  Dr.  Jekyll  and  Mr.  Hyde),  Leon \nShamroy  (You  Only  Live  Once),  James \nWong  Howe  (Viva  Villa,  The  Thin  Man), \nRudolph  Mate  (The  Passion  of  Joan  of \nArc,  Dodsworth),  Ted  Tetzlaff  (My \nMan  Godfrey,  Swing  High,  Swing  Low), \nGregg  Toland  (We  Live  Again,  Wedding \nNight),  Ernest  Haller  (The  Journal  of  a \nCrime,  The  Key),  Ray  June  (Arrow- \nsmith,  Treasure  Island),  Joe  Valentine \nDecember,  1939 \n(Three  Smart  Girls,  One  Hundred  Men \nand  a  Girl). \n\u201cOther  prominent  cameramen  are \nErnest Palmer discusses special effects technique in Hollywood, praising modern camera men's ability to reproduce natural and imagined elements. He highlights Griffith's \"The Birth of a Nation,\" where earlier experimental techniques are consolidated, including camera use to build scenes, shot pacing, sensitive manipulation of devices for transitions, and simultaneous action, all masterfully cut together. During 1914-18, the cameraman was sidelined by stars, directors, and scenarists, but Bitzer's work in \"Judith of Bethulia\" is noted.\nThe Birth of a Nation and Intolerance awakened cameramen to the possibilities of their craft. They applied themselves energetically to experimentation \u2014 composition, lighting, and developing the mechanical devices of the camera itself. After the war, a number of former Signal Corps cameramen, including Victor Fleming, George Hill, Ernest Schoedsack, Joseph Von Sternberg, Alan Crosland and Wesley Ruggles, became movie directors. The first attempts to model with light \u2014 to bring out the best features of the players, to emphasize character, to reduce the prominence of irrelevant effects \u2014 were begun. Bert Glennon, Victor Milner, Sol Polito, Charles Rosher, John Arnold and Joe August were all experimenting with the mercury-vapor lamps then in use to make them more adaptable to modeling. Diffusion Era.\nThe author tells of the wide use of diffusion to soften physical defects of players. Gauzing the lens therefore became a usual practice. Alvin Wyckoff, Cecil De Mille\u2019s cameraman, introduced a spotlight effect (\u201cRembrandt\u201d lighting) to create strong dramatic contrasts.\n\n\"The Rise of the American Film\" contains over 225,000 words. Not one of them is wasted. They make good reading, interesting reading. It is reading the like of which it is quite certain no one will have found before\u2014 the story of the real men who made the pictures possible and the men who did the actual work.\n\nIt is a scholarly book, made rich by research. Lewis Jacobs easily is a hound for punishment, and he has taken a lot of it that the world may have a work on which it may rely.\n\nIt will go far to educate those who talk wisely of \u201cappreciation.\u201d G.B.\nAmerican Cinematographer, volume 549, December 1939\n\nAnnounced over a year ago, Eastman's three new negative films have achieved instant success. Today, Plus-X, Super-XX, and Background-X are firmly established favorites throughout the industry. Their unrivaled photographic quality and trustworthy uniformity receive well-merited acclaim. Eastman Kodak Co., Rochester, NY. (J.E. Brulatour, Inc., Distributors, Fort Lee, Chicago, Hollywood.)\n\nEastman\nPlus-X \u2013 for general studio use for all difficult shots\nBackground-X \u2013 for backgrounds and general exterior work\n\nScene\nBy Ormal I. Sprungman\nPhotographs by the writer unless otherwise noted\n\nRay Rieschl, Minneapolis moviemaker, is shown with an 8mm camera revamped with Wind-Bak for trick effects. Note fading rod lever with ring slipped over lens barrel.\nIf your movie camera isn't equipped to fade, wipe, dissolve, iris, or just plumb shoot single frames, don't envy the owners of costlier stuff. Today, most any 8mm. or 16mm. outfit which shoots acceptable pictures can be revamped or rebuilt to provide most any trick at a price quite within reach of most pocketbooks.\n\nThe one thing, above all else, that quickly characterizes the amateur movie is the abruptness or apparent choppiness which marks the break between two consecutive and often unrelated scenes. Here, for instance, is a typical long shot of some snow-dunked evergreens, followed by an immediate close-up of a youngster cupping a snowball, and then a homemade snowman pops into view.\n\nThe jump from one scene to the next is a bit disturbing. Such scene transitions could better be handled by fading in on the first snow scene, dissolving into it, and then cutting smoothly to the close-up of the youngster and the snowman.\nTo reveal the snowball-snow man sequence, the next method involves a fade. The fade is a common technique for scene transition, used by many amateurs for years. There are two types of fades: fade-in, where the darkened screen gradually grows brighter until the pictured image reaches its correct luminosity; and fade-out, which is the reverse. Any one of several methods can be employed in making the fade. The simplest is to close down the lens aperture slowly to its smallest stop after sufficient footage has run off on the scene at hand. This gives a satisfactory fadeout when shooting is done at larger apertures ranging from f/3.5 to f/1.9. However, when the scene being filmed requires a small aperture, say, f/8 or f/11, the fade to f/16 is hardly noticeable.\nSome cameras have apertures which close entirely to give the ideal effect, but for those not equipped with this feature, the fade can be completed by lowering the hand or a piece of black cardboard over the lens after the aperture has been cut down to its smallest stop.\n\nThe fade-in, naturally, is made in the opposite manner.\n\nA fading glass is a handy accessory for securing the same effect. This consists of a rectangle of glass, slightly wider than the diameter of the lens barrel. One end of the glass is transparent, the other opaque. Smoked glasslike gradations run from the transparent area to the opaque, the general effect being that of reducing or increasing the brightness of the image as the glass is passed horizontally in front of the lens. Such fading glasses sell for around $2.\n\nPaul Frantzich, treasurer of the Minneapolis Camera Club, invented...\nneapolis  Cine  Club,  has  evolved  his  own \nfading  glass  after  considerable  experi\u00ac \nmentation.  He  exposed  a  piece  of  sensi\u00ac \ntized  film  to  light  in  such  manner  that \none  end  would  be  overexposed,  while  the \nother  would  be  unexposed,  with  full \ngradations  between. \nThen  he  mounted  the  film  between \nglass  plates  and  taped  the  edges  for  final \nprotection.  The  homemade  glass  pro\u00ac \nvides  all  the  fadeins  and  fadeouts  he \nneeds  for  his  8mm.  movies. \nRome  Riebeth,  editor  of  the  Cine  Club\u00ac \nber,  monthly  mouthpiece  of  the  Min\u00ac \nneapolis  Cine  Club,  has  made  a  satisfac\u00ac \ntory  vignetter  for  his  8mm.  camera  by \nrevamping  the  iris  of  a  discarded  still \ncamera  so  that  he  could  get  circle-in  and \ncircle-out  fades  by  simply  opening  or \nclosing  down  the  aperture  mounted  inside \nthe  lens  collar. \nA  comparatively  new  fading  device \nnow  on  the  market  is  the  Wesco \nFadette,*  which  fits  all  8mm.  and  16mm. \nL. L. Harmon, St. Paul watchmaker and inventor of a wind-back for the 8mm. Eastman movie camera, is shown with a special cable release-self timer attachment he uses for taking self-movies. The Harmon Windback is seen installed on an 8mm. Eastman camera. Note the special crank. The second finger of the left hand presses the film release button.\n\nThe Wesco Fadette, the only vignette to give an oblong fade, is shown installed. Operated by a cable release, the device has only five moving parts. It is easily removed.\n\nAn oblong fade. In other words, the actual shape of the movie frame is retained as it diminishes throughout the entire fade.\n\nWell constructed, of light bakelite, the device has only five moving parts, and it is manually operated by a cable release.\nThe Fadette sells for $5.95 and functions as a sunshade, filter holder, and vignette. A set of three double masks is also available.\n\nAt any speed desired by the camera operator,\n\nThe Fadette offers functions as a sunshade, filter holder, and vignette for $5.95. A set of three double masks is also available.\n\nManipulating props on location can produce fading effects. For example, you can fade in by shooting through a curtained window as someone out of camera range slowly raises the shade. Fade out on a camping movie by setting up the camera on a tripod inside a darkened cabin, with the lens pointing at the doorway. Slowing closing the door while shooting will result in a unique fade. Another method for fade in used in fishing films is having the angler with their back against the camera lens, shooting as they speak away. For such a scene, the lens is pointed at the angler.\nThe dark-light screen effect in this case is striking and unique. While fade marks the beginning or end of a movie sequence, the lap-dissolve is used to slow the lapse of time, span space, or change from a long shot to a medium shot or close-up.\n\nThe dissolve is obtained by fading out on one scene, backing the film for the duration of the fade, and fading in on the new scene. This gives the impression of one scene fading out as another superimposed on top begins to grow brighter, finally replacing the former scene entirely.\n\nThe Works for 8mm.\n\nOnly the costly cameras are equipped for backing film, and this unique effect would be impossible for those who own less expensive outfits if it weren't for the practical-mindedness of several midwest inventors.\nRay Riesch, professional sign writer, \"American Cinematographer,\" December 1939\n\nClose-up shows calibrated dial of Cine-Transito. Pressing center button while motor is running causes fade or wipe disc mounted on end of protruding shaft to revolve automatically and give desired effect.\n\nBaia\u2019s Cine-Transito is pictured with wipeoff disc, made of dull black painted metal. Reversing position of disc on shaft gives wipe in opposite direction. Circular fading disc revolves before lens from opaque to transparent area for fade-in, or vice versa for fade-out. Cine-Transito is detachable and does not interfere with camera mechanism.\n\n8mm film enthusiast and member of the Minneapolis Cine Club has devised and patented a revolutionary yet inexpensive attachment for Bell & Howell 8mm movie cameras, which permits fades, cut-aways, wipes, dissolves.\nThe Wind-Bak, which costs less than $20 to install, includes a film release lever and a calibrated turning knob. These components are integrated into the camera without altering its design or affecting the motor mechanism. Normally, the wind-back knob is extended, allowing the spool to turn freely. A demountable fading rod is installed over the front lens barrel, with the metal arm serving as a set screw to attach the ring to the barrel. The rod simplifies and smooths the process of adjusting the lens barrel to fade in or out by altering the size of the lens opening.\n\nTo dissolve a scene, turn the fading rod until it fades out, taking note of the foot pedal position first.\nTo start filming, readjust the age of the film at the beginning, then stop the camera. Turn the wind-back knob to engage the film spool and pull out the film release lever. This lever is located below the lens and disengages the claw from the sprocket holes in the film as it passes backward through the gate.\n\nTo dissolve:\n\nThe amount of film on the reel determines the number of turns of the wind-back knob, ranging from 2.2 to 3.2 turns per foot. A scale on the camera is consulted to ensure accuracy. The winding knob is calibrated from A to Z to aid in resetting. Turn the knob counter-clockwise and pull out to disengage the spool. Then, push in the film release lever in front and produce the fade-in by increasing the lens aperture to normal exposure using the handy fading rod. The position of the rod in the camera:\nThe camera viewfinder indicates the proper lens setting. This unique wind-back mechanism rewinds any amount of footage, from one frame to a whole roll of film. When the film release lever is out, the camera is automatically locked as a warning to the operator. The exact length of the fade can be determined by counting seconds; one foot of 8mm film passes through the camera in about five seconds. If longer fades are desired, more footage is allowed during fading, and proportionately more is wound back. The device is also useful for trick titling.\n\nL. L. Harmon, St. Paul watchmaker, 8mm movie fan, and a member of the St. Paul Movie Making Club, has evolved the Harmon Windbackt for Eastman Cine-Eights, Models 20, 25, and 60. Selling for $12.\nThe device has no parts that operate with the camera during picture-taking, resulting in no change in camera speed. Mr. Harmon explained, \"Each turn of the specially installed crank is one frame.\" To rewind, push the film release forward, press in on the crank, and wind back. I use a fading glass for dissolves, creating a three-second fade, then winding back fifty frames and fading in. However, on my own camera, I have altered the aperture to allow for a complete fade. I have also installed a cable release for use with a self-timer. This saw frequent use last summer during a camping trip I took with my six-year-old son. With no one to take our pictures in the camp scenes, we would set up the camera, pointing at the field of action, set the timer, and walk into the picture.\nI'm ready when the camera starts. This stunt worked well. I took some night scenes of our camp and fire with lights, showing us getting ready for bed. After we turn in, I cut down on the lights and show a bear coming around the camp into the tent, and putting the run on us. I have also added music to my picture.\n\nWith his single frame release, Mr. Harmon found that it helped considerably to use the cable release, and with a little practice, he was able to bat them off almost perfectly.\n\nAt Detroit, Mich., the Baia Motion Picture Engineering Company has devised the \"Cine-Transito,\" a dial-faced instrument geared and synchronized to the camera mechanism to produce professional-looking fades, dissolves, and even wipes with revolving discs.\n\nQuickly built of lightweight duralium, the Cine-Transito\nA removable unit, which can be attached or detached quickly, includes a geared coupling within its dial housing. A crank extends from one side of the housing for back-winding. The calibrated dial, housing, and crank fit over lugs on the camera's side. A celluloid fading disc or wipeoff disc is mounted on a shaft that extends from the housing's center, passing before the lens barrel.\n\nDuring a fade-in, the opaque part of the disc is placed before the lens, and the camera motor is started. By pressing the button on the frame counter's center, gears engage, allowing the disc to revolve automatically until the transparent part of the dial is reached.\n\nFor a fade-out, begin with the transparent area before the lens. A distinct warning click alerts the operator when the fade has ended.\nAnd shooting should stop. Fading discs are available in 2, 3 or 4 second fades, and are quickly detachable. To make a lap-dissolve, the usual procedure is to back-crank for the number of frames needed for the fadeout and fadein on the new scene. The wipeoff disc revolves in a similar manner, wiping away one scene replaced with another. Inside of movie camera, the peyicil points to the clutch behind the wind-back knob which engages the film spool when pushed in. The film release lever on the front of the camera disengages the claw from the sprocket holes in the film to permit backward movement. One frame or a whole roll of film may be rewound at one time. Another, either from right to left, or vice versa.\n\nThe cost of the Cine-Transito installed ranges from $25 to $32.50, the windback costing around $25 extra, depending on the type of camera. Single frame release, having a 1/25 second exposure.\nMay also be installed for animation work at $15 additional. The alterations and adaptations made by this firm are very exacting. Now, with dissolves, fades, and wipes, once available only to 35mm producers, within easy reach of every button-pusher, need there be further alibis for amateur movies?\n\n4 Western Movie Supply Co. 254 Sutter St. San Francisco, Calif.\nFrieschl-Emeriek Laboratories, Inc. 303 Loeb Arcade. Minneapolis, Minn.\nJ.L. L. Harmon 310 Bremer Arcade. St. Paul, Minn.\nBaia Motion Picture Engineering Company 8044 Hardyke, Detroit, Mich.\nPasadena Movie Club\n\nMr. Wilson showed pictures of China which covered many of the places members had heard about through the newspapers. Test films which members had taken at the previous meeting were shown \u2013 and much enjoyed.\n\nAny member having equipment for sale, trade, or exchange now has the opportunity.\nprivilege  of  posting  the  same  on  the \nclub  bulletin  board. \nOutside  of  movie  camera  cover  shows \nunnd-back  knob  and  calibrations  to  insure \naccuracy.  Number  of  turns  per  foot \ndepends  on  size  of  loaded  film  spool. \nArbitrary  A  to  Z  letters  aid  in  marking \nrewind  position. \n554  American  Cinematographer  \u2022  December,  1939 \nRemodeling  A  Picture  Sets \nto  Benefit  B^s \nBy  JACK  OTTERSON \nSupervising  Art  Director  Universal  Studio \nAs  Told  to  William  Stull,  A.S.C. \nIT  is  often  said  that  the  economy \nand  relatively  greater  financial  suc\u00ac \ncess  of  the  so  -  called  B  pictures \nmakes  it  possible  for  many  studios  to \nproduce  their  more  pretentious  A  pro\u00ac \nductions.  The  other  side  of  the  matter \nis  too  often  overlooked:  that  intelligent \nre-use  of  such  physical  elements  of  the \nA  production  as  sets  is  an  important \nfactor  in  making  possible  the  economics \nof  program  film  production. \nIf for a generous percentage of a B picture's sets, you need not build new ones, but merely adapt existing ones, notable savings can be effected. Even more advantageous is the fact that such a policy makes available to program pictures settings of a size and quality not otherwise possible on B picture budgets.\n\nSince there is today an increased demand for economy in every phase of production, a brief discussion of some methods of adapting A picture sets for B picture use may at this time be constructive. Little enough has been said or written about the subject; yet there are few fields which can contribute more notably to our task of combining economy with production value for program releases.\n\nFrom this viewpoint, A picture sets divide themselves naturally into two broad groups. In one are sets designed for specific scenes or purposes, which cannot be easily adapted for B picture use. In the other are sets which, due to their general nature, can be readily adapted for multiple uses.\n\nThe first group includes sets which are unique in their design or purpose, such as elaborate interiors, exteriors of unusual locations, or sets which are required for only a few scenes. These sets are usually expensive to build and are not easily adaptable for B picture use. However, there are methods of adapting even these sets, such as reusing them for different scenes or purposes, or breaking them down and rebuilding them in a more economical manner.\n\nThe second group consists of sets which are more generic in nature, such as exterior streets, parks, or interiors which can be used for a variety of scenes. These sets are more easily adaptable for B picture use, and can provide significant savings in production costs. For example, a street set can be used for multiple scenes, such as a chase scene, a romantic scene, or a fight scene. Similarly, a generic interior set, such as an office or a living room, can be used for various scenes requiring those types of settings.\n\nIn conclusion, the adaptation of A picture sets for B picture use is an important aspect of economical production for program releases. By dividing sets into two broad categories and considering the methods of adapting each, significant savings can be achieved while maintaining production value.\nIn order to meet the requirements of a specific picture and of a nature that one cannot expect to be of immediate use for the average program film, there exist sets of a more common genre. These sets represent rooms or structures that fit more naturally into the needs of the average program picture story pattern. Although this division may not necessarily influence the design and construction of an A picture set, it should be considered in its erection. The cost of a set includes not only the expense of designing and building it, but also the expense of erecting it. Therefore, if a set, in addition to being remodeled, has to be moved from a scene-dock to a stage and there erected for re-use in a program film, it will prove more expensive to the production than if it were already in place.\nWhen a special-purpose set is required, we have found it beneficial to consider the following in planning our film sets. We try to schedule such sets for one of the more frequently used stages, and when they have served their purpose, we strike them quickly and store the component elements in the scene-dock.\n\nAt present, we are completing two films using sets of this more specialized nature: \"Green Hell\" and \"Tower of London.\" One of them requires sets representing a tropical jungle, with the crude huts of a jungle outpost, native villages, and the like.\n\nSome sets have been razed:\n\nThe other involves castle interiors and exteriors. Sooner or later, future program films will undoubtedly call for such backgrounds; but that is in the indefinite future. Meanwhile, no constructive purpose would be served\nSets that are kept standing are beneficial in the following ways. On the contrary, when high-budget productions, such as those featuring Deanna Durbin, require the construction of large or luxurious sets or sets representing frequently encountered rooms in normal program films, it is advantageous to erect the set on a stage where it can remain standing without interfering with regular production. When the time comes to reuse it, there will be no added expense for erecting the set again; the only charge will be for the minor physical changes required to adapt it for reuse.\n\nWhat types of sets have the most value?\n\nReverting the tone values in a set like this, redressing it, and using more prominent backgrounds behind the windows can alter it beyond recognition for refuse.\n\nDecember 1939\n- American Cinematographer 555\nFor re-use? Well, since many program films are fundamentally of the action type, tending toward the time-honored \u201ccops-and-robbers\u201d story pattern, I would put courtrooms and cafes very high on the list. Then would come hotel and apartment house corridors and rooms \u2014 not to mention lobbies \u2014 and a variety of living and bed rooms ranging from a milieu in which one might expect to find the \u201clittle tough guys\u201d up to one of Deanna Durbin\u2019s luxurious cinematic residences. In the typical action picture (if there is such a thing!), one may expect to find one or the other of the romantic leads living in relatively modest surroundings, with the other domiciled on the more plutocratic side of the tracks. The heavy may live in a swanky hotel or apartment, and will certainly be seen in a night club if such a sequence can be had economically.\nThere is likely to be some action in a business office, and more in police stations and courtrooms. A surprising number of these can be adapted from the more normal sets of an average high-budget picture. The rest, if they are not already available, can be built without undue cost.\n\nTwo-Thirds Saved\nI would estimate that with intelligent planning, at least two-thirds of the sets for an average B picture may be adapted from standing sets constructed for the studio's A productions.\n\nThe precise methods of modifying a set for re-use vary greatly, according to the demands of the action and the nature of the set itself. Disregarding momentarily the problems involved when the action indicates a specific floor plan differing from that of the set as it stands, let us consider some of the simpler methods by which a set can be economically adapted for re-use.\nIn some instances, simply re-dressing a set is enough to change its aspect completely. In most cases, this can be taken for granted, and added changes in the visual treatment of the set itself.\n\nRemodeling large sets, like this one from Deanna Duvbin\u2019s \u201cFirst Love,\u201d can give program production expansive settings at small cost.\n\nThe most obvious, but always effective method of changing the appearance of a set is the simple trick of reversing its tonal values. For instance, if the walls of the A picture set are light-toned with a darker trim, a surprising change can be made by repainting the wall surfaces in a darker value and the trim in a lighter value.\n\nThis can sometimes be carried a step further by using three values instead of two \u2014 a light, a dark, and an intermediate value.\nThe value of a set can be mediated. Its opposite is also true. Where a set was originally treated with several tonal values, a surprising change can be made by suppressing one or more of them and altering the remaining basic value. Wall Paper Important. Even more startling effects can be obtained by papering the walls. Originally, a wall might be treated merely as a flat, painted surface. The changed appearance given by using suitably figured wallpaper is incredible. However, the second production may demand definite changes in floor plan. A door may be needed to admit some dramatically important character at a point where in your original set there is only a solid wall. In that case, it is only necessary to replace that particular unit of the set (not the whole wall) with a unit containing the desired feature.\nIt is vital to ensure that the unused unit is stored for future use, while the rest of the set can be modified as required. The proportions, period, etc., of the replacement unit must coordinate with the remainder of the set to avoid any indication that a unit was added to a standing set. In such an instance, only one or two walls would need to be built instead of three, and the remodeled set would still represent a saving of approximately one-third compared to a completely new set.\n\nThis is a good way to make a complete change in a set for comparatively small cost when budgets permit. It is hard to believe how greatly merely changing a door for a window, a blank wall for a fireplace, and so on, can alter a set, even without extensive modifications.\nChanges in papering and painting. In some instances, surprising changes in appearance can be made by changing merely the treatment of some such features. In many of the sets used originally for the Deanna Durbin productions, for instance, windows may be somewhat subordinated, using only neutral backings behind them. Using the same sets later, for another production, we may stress the window's more by the trick of using more prominent photographic or painted backings or miniatures behind them. Night-effect backings, with properly scaled flashing lights, are excellent where the action permits.\n\nSpectacular Stairway. There are some problems midway between these extremes; when a set may be virtually designed around some architectural feature which is very difficult to disguise. In the current Deanna Durbin film, \u201cFirst Love,\u201d for instance,\nThere is a set in an entrance hall of a mansion, featured by a spectacular broad, curving stairway which is an integral part of the design. Suppress that stairway and you would have very little left. It would be almost impossible to replace it with anything. This stairway dominates its set. For re-use, the wall behind the stairway might be made different by use of large windows or translucent glass-brick treatment, effectively altering the appearance of the whole set. The problem of re-using it is still in the future, and anything that could be said about the matter must necessarily be one of surmise. But two methods suggest themselves. First, retaining the stairway, replace the wall behind it with one or more large windows, through which, perhaps, can be seen a suitably prominent backing.\nSecond, replace the wall with modernistic translucent bricks. This would draw attention away from the stair itself and make the background more prominent. It would also offer the cinematographer interesting opportunities in effect lighting, illuminating the translucent glass-brick wall from behind, thereby throwing his actors into a semi-silhouette or even a full silhouette. The variations possible by combinations of these methods will be found to extend themselves almost indefinitely. It's even possible to so completely alter the appearance of a given set that it can, with successive modifications, be used to represent two or three different appearances.\n\nThe first program of the season was held in Bell & Howell auditorium on Oct. 21. The new Forum president, Fred Orth, suggested that films taken by:\nMembers featured included: \"Harvests of the Forest\" (H. A. Burnford), \"Old Chicago\" (J. Wilson, color), \"Cocoanuts and Sunsets\" (Kay Holzaple and Louise Butter), \"Utah\" (Dr. Helen It. Clifford, color), \"National Parks\" (I. Neal Rogers, color), and \"Skippy the Cocoanut\" (Mark C. Hunnewell of Miami Beach).\n\nDifferences in sets between versions is the final problem. This arises when remodeled versions of an A picture's sets appear in a program release before audiences see the originals.\n\nThis is complicated by the fact that many program films have short production schedules, while higher-bracket features are given more time in editing, scoring, and so on, with later release dates.\nThis can be minimized by taking adequate care to ensure that sets created for an important picture are not re-used until a reasonable period has elapsed. In general, when we have built\u2014as we always do\u2014a group of exceptionally pretentious sets for a film like a Durbin production, we make it a rule never to allow even consideration of re-using them for a lesser film before eight weeks or more have elapsed from the completion of the A picture. This is generally sufficient to avoid either the possibility that the B film be released earlier than the A picture or the still more embarrassing chance that the two might be seen together on a first-run double bill. In second-run houses, we must sometimes take a chance in the latter respect; but if both the art director and the cinematographer approach their work with proper artistry, there is no need for concern.\nThere is little chance that even if such a thing happened, the average audience would be aware of it. For between the physical control possible to the set designer and the photographic control possible to the cinematographer, properly coordinated, almost anything is possible, and the result can increase production economy with enhanced production value.\n\nDecember, 1939 \u2022 American Cinematographer 557\nThere is no Christmas gift problem, as far as home movie fans are concerned. Give them a roll or two of Cine-Kodak Film. They'll be delighted.\n\nWhen you give Cine-Kodak Film, you complement any movie maker's movie-making artistry. For, behind the special effects which distinguish his movies is his reliance on the uniform quality, the speed, the fine grain, and the brilliance of Cine-Kodak Films.\n\nKodachrome, the full-color film, is the most...\nPrized of all home movie films, a roll or two of Kodachrome \u2013 and you've highlighted Christmas for some deserving filmmaker.\n\nCine-Kodak Films\nFor 16 mm. Home Movie Cameras\nKodachrome, the magnificent color film.\nAvailable in two types: one for daylight and one (Type A) for Photoflood light.\n\nSuper-XX Panchromatic, a black-and-white film of top speed, for indoor shots or outdoors in poor light.\nSuper-X, a brilliant, fine-grain film for general outdoor work; fast enough for some indoor movies.\n\nSafety Film (Panchromatic) is for use when the special qualities of the other films are not important to success. In 100-ft. rolls only.\n\nFor 8 mm. Home Movie Cameras\nKodachrome, in two types, regular and Type A, as in the 16 mm. film.\nSuper-X, a recently introduced film of great speed, brilliance, and photographic quality.\n\"PAN\" - the famous 8 mm film, high in quality, low in cost.\nEastman Kodak Company, Rochester, N.Y.\nAmerican Cinematographer, December 1939, p. 558\n\nBerndt Opens Plant in Hollywood for B.M Equipment\nTo meet the growing demand for high quality 16mm sound-on-film equipment on the Pacific coast, Eric M. Berndt has established a Hollywood sales and service agency for Berndt-Maurer equipment. Also available is an engineering and consulting service covering all phases of 16mm sound and picture work.\n\nThe Hollywood agency will handle B-M 35mm variable area recording galvanometers as well as the complete line of B-M 16mm sound-on-film recording machines, high fidelity amplifiers, film phonographs, and camera motor drives. Complete facilities have been established for special work on film sound machines and recording galvanometer installations.\n\nThe newly formed E.M. Berndt agency.\nCorporation  is  situated  at  5515  Sunset \nBoulevard,  near  Western  Avenue.  As\u00ac \nsociated  with  Mr.  Berndt  as  officers  of \nthe  corporation  are  G.  A.  Busch  and \nWalter  Bach,  both  formerly  with  Berndt  - \nNEW  BOOKS \nMaurer  in  New  York  City.  Mr.  Berndt \nhas  assumed  active  management  of  the \nHollywood  agency  while  maintaining  his \ninterests,  as  before,  in  the  Berndt- \nMaurer  Corporation  of  New  York. \nA  complete  B-M  16mm.  double  system \nsound-on-film  recording  channel  and  a \nB-M  16mm.  film  phonograph  rerecording \nchannel  are  on  display  at  the  Hollywood \noffice.  A  small  demonstration  theater  is \navailable  for  16mm.  sound-track  play\u00ac \nback  and  picture  demonstration. \nCartoons  and  We\u2019ve  Been  to  the  Movies. \nThe  book  fits  in  with  a  series  of  four\u00ac \nteen  other  books,  of  which  the  first  two \nare  The  Train  Book  and  The  Fire  Engine \nbook.  The  story  of  the  movies  and  the \nThe screen is not like the train book and the fire engine book. The authors have visited Hollywood and have seen the inside of studios and the men and women at work behind the lines. They have been shown much that goes on behind the scenes and have gotten some of that down on paper. As stated at the beginning, 48 illustrations are shown relating to picture making. The pictures are authentic.\n\nLa Casa Movie Makers\nA large group of movie fans attended the October meeting of La Casa Movie Makers of Alhambra, CA. Some fine work was shown.\n\nMr. Ingham has made a hobby of trains and has filmed all types, from the old wood burners to the latest streamline deluxe.\n\nMr. and Mrs. Moore made a fine color film on a recent trip through the Canadian Rockies.\n\nMr. and Mrs. Gardner vacationed in the New England states and have a good collection.\nTwo-thirds of the motion picture films exhibited in Argentina during the first nine months of this year were of United States origin, according to the Department of Commerce. Of a total of 347 films exhibited during this period, 232 were American-made.\n\nThe Year's Photography. 1939-1940. Royal Photographic Society Publication. 2s. 6d. Advertising, 47 pp.; text, 19 pp.; plates, 44 pp.\n\nThe text of The Year's Photography is contributed by J. Dudley Johnston, Hon. F.R.P.S., \"The Pictorial Side of Photography\"; \"The Lantern Slides,\" by R. H. Lawton, Hon. F.R.P.S.; \"The Naturalist and the Camera,\" by John E.\nF.Z.S. (Assistant Editor Photographic Journal) and \"The Un-Birthday Present,\" by E.W.H. Selwyn, A.R.\nLet's Go to the Movies. By William Clayton Pryor and Helen Sloman\nDedicated to high school teachers and principals who have asked for a book like this, Let's Go to the Movies consists of thirteen chapters. These chapters are entitled: Let's Go to the Movies, Newsreel, Feature, Story, Direction, Players, \"Roll 'Em,\" Costumes and Make-Up, Sets and Props, Editing, Selected Short Subjects, and E.M. Berndt Corporation's new plant for Berndt-Maurer Sound Equipment, 5515 Sunset.\n\nDecember, 1939 \u2022 American Cinematographer 559\n\nIn 1934, Elmer Dyer, A.S.C., and\nCharles Marshall, A.S.C. went to Randolph Field, Texas, to shoot \"West Point of the Air\" for M-G-M. A Randolph Field officer, Lieut. Don Norwood, was detailed as liaison officer to coordinate operations between the military and the motion picture organization.\n\nA large portion of the picture taking included aerial work, but there were also numerous ground scenes. Lieut. Norwood observed with much interest the extensive use made of large reflectors to supply auxiliary illumination for the ground scenes.\n\nAs a matter of fact, a whole truckload of these reflectors were usually carted around. The splendid effects achieved by their use were duly noted. Since Lieut. Norwood had more than a passing interest in photographic practice, he pondered the problem of more extensive use of reflectors by amateur photographers. If the professionals could achieve such excellent results with them, why not amateurs?\nThe use of reflectors: Why shouldn't artists make more use of the same device? Small and High Efficiency. The cumbersome size of the ordinary reflector presented a major obstacle. Study of the matter revealed the fact that the ordinary reflector is a huge, low-efficiency device. What was a small, high-efficiency device that would effectively do the same job? Working on this premise, he finally evolved such a unit. This unit had high reflective power and kept the beam of illumination compact, so that very little reflected light was wasted. The device radiated a divergent cone of illumination which was very intense near the unit where the circle of illumination is relatively small, and tapered off gradually at greater distances where the circle of illumination became progressively larger in size. Thus, the operator was offered an intense, compact beam of illumination with minimal light loss.\nThe device allows for the selection of secondary illumination intensity by placing it at the appropriate distance from the subject. Patented. The illustration depicts the unit in use. Notable in this scene is the heavy photographer shadow on the left, with the corresponding subject shadow brought up to a nice level of transparency through reflector device illumination, visible in the left center foreground. Sunflector in use against heavy shade. The device proved effective in practice, receiving favorable comments from all photographers who saw it, prompting Lieut. Norwood to procure patent protection. Named the Sunflector. A major manufacturer of photographic specialties recognized its potentialities.\nA manufacturer named James H. Smith & Sons, Victor Products, Griffith, Ind., has produced the device in quantities to offer photographers the advantages of its use. After a year and a half of preliminary work, the reflector, measuring 10 inches in diameter and weighing 25 ounces, is now available at a reasonable price. This reflector enables a photographer to secure balanced illumination on their subjects, allowing them to take cross-lit and back-lit shots. It is believed that these units will help amateur photographers emulate some of the splendid scene lighting effects achieved by professional A.S.C. men, thereby raising the general level of their work.\nProper lighting is one of the hallmarks of good photography. These units will also likely be of considerable value to newsreel photographers and others who appreciate reflectors but demand maximum portability of equipment.\n\nJoseph Walker, A.S.C., won the photographic honors in the Reporter\u2019s poll for October. This time it was for Capra\u2019s \u201cMr. Smith Goes to Washington.\u201d The previous time it was for Hawks\u2019 \u201cOnly Angels Have Wings,\u201d with Columbia producing each.\n\nFor Walker, it was two in a row. He stepped from \u201cOnly Angels Have Wings\u201d onto the \u201cMr. Smith\u201d stage. And that, it may be said, is not being done \u2013 except on one occasion. That was when Bert Glennon followed Wanger\u2019s \u201cStagecoach\u201d in February last with Twentieth Century-Fox.\n[Fox's \"Young Mr. Lincoln\" won in June, making it two wins in a row for him in the first instance. In the October voting, there were only four places that didn't go to \"Mr. Smith.\" They were for best actress performance (Greta Garbo in \"Ninotchka\"); best supporting actress performance (Ina Claire in \"Ninotchka\"); best original song (\"Eternally Yours\"); best general feature (\"20,000 Men a Year,\" Twentieth Century-Fox). All other bouquets went to \"Mr. Smith.\" They were for best picture, best director (Frank Capra); best actor (James Stewart); best screenplay (Sidney Buchman); best supporting actor (Claude Rains); best incident performance (Harry Carey); best musical score (Dimitri Tiomkin).\n\nDevise Sunflector as cinematographer. Help.\n\n560 American Cinematographer \u2022 December, 1939]\n\n\"Fox's 'Young Mr. Lincoln' won in June and October, with Greta Garbo in 'Ninotchka' winning for best actress performance, Ina Claire in 'Ninotchka' for best supporting actress performance, 'Eternally Yours' for best original song, and '20,000 Men a Year' for Twentieth Century-Fox in the best general feature category. Frank Capra won for best director, James Stewart for best actor, Sidney Buchman for best screenplay, Claude Rains for best supporting actor, Harry Carey for best incident performance, and Dimitri Tiomkin for best musical score. Help Devise Sunflector as cinematographer in the December 1939 issue of American Cinematographer.\"\nI. From itaforn L.cht saving UOKI am iMtl intrns't Item aril tri'i'o Jav to tl.->r ian' ll>eaterS cnoc n o otL hmiohu nuctsto\n\nPUBLIC\nht-\u2019i IS SBP THEATERS ARE RESPONDING TO THIS POPOLAR and in the STUDIO More light than was formerly used is often required for the modern photographic technique. Carbon Arc Lighting gives the needed illumination with maximum economy and minimum discomfort from heat.\n\nNational Carbon Company, Inc. December, 1939 American Cinematographer 561\n\nCONTINUITY is an uninterrupted succession of a series of ideas, facts, actions or events, which, when placed in their proper sequence, form a complete cycle or establishment of fact. It is the prime factor in motion picture storytelling.\nTruth photography conveys to the audience the purpose of the picture in a clear, concise narrative. It places each incident in a relative position, leading to its ultimate goal - the thought to be expressed.\n\nIts place in motion pictures is as important as its use in writing a book, making a speech, or telling a story so that individuals comprehend the entire narrative without interruption of thought. The picture is started, and by a step-by-step process, it carries the viewer to the climax and final fadeout without giving his mind an opportunity to wander from the original theme of the picture.\n\nContinuity in travelogue carries the audience from one location to another and should be so well executed that they are anxious to see the trip unfold before their eyes. Without an appropriate, smooth continuity, the film would fall apart.\nThe class of old postcard albums or stereopticon slides. Movement \u2014 Visual, Narrative Any picture should contain visual movement for the eye and narrative movement for the mind. The picture should start with a main title and possibly be followed by an explanatory sub-title for explanation of the purpose of the trip or scenario, the proper combinations of scenes for each sequence, the proper placement of each sequence, and then the final close-out scene or fadeout. Assuming your trip is planned to include several cities or national parks, combine all scenes of each city or park to become a complete sequence of that particular location. Each of these sequences covers one phase of your trip and becomes a complete unit of its location. A sequence of Zion Park should entirely cover that park and no other scenes of Zion should appear in other parts of\nThe reel of film. Although it is possible to have a main title for each sequence or location, it is better to insert a few scenes between sequences to carry your audience from one location to another. Shots of the car rolling along the highway or a line drawn on a map are common shots used between sequences. Watch your fades. Each sequence should start with a fade-in and end with a fade-out. Follow this with a quick fade-in of your action shot and fade-out. These interspersed shots can become running \"gags\" if you like a little humor in the picture. The use of date sheets dropping from calendars, poetic passages or any of the countless ideas denoting a passage of time or space add to the attraction of your travelogue. Never allow your picture to become a monotonous series of scenes alone. Cut in running gags of you.\nWhen pumping a tire or using Burma Shave signs, add excitement. In filming scenes, select the optimal camera setup, considering composition essential for continuity. A frequent issue in travelogue photos is the excessive panoramic shots, preventing viewers from focusing on subjects of interest. Upon trip completion, return home with your audience. A few action shots suffice to create the sensation of shared experience. Avoid leaving viewers in parks or cities; include shots of returning home, unpacking luggage, and your picture can conclude with a long fadeout.\n\nContinuity in scenarios must be seamless, avoiding the need for viewers to question the purpose of each scene or action. Each sequence should be closely connected.\nRelated to the scenario, the omission of these elements would make it incomplete and disconnected. Begin the picture with a main title and sub-titles to introduce characters and story location. The use of sub-titles in scenarios should be kept minimal, as they typically slow down the story's action. If your story is well-planned and narrative is strong, sub-titles can be eliminated, and the picture will tell the story. Your lettering in the titles should conform to the picture's mood. For dramatic pictures, bold lettering is suitable, while Old English lettering is more appropriate for pictures at Christmas or anniversaries of elderly couples. In writing your scenarios, follow the same procedure as preparing a speech. First, write the story in a brief synopsis, listing all important phases.\n[Scene 1: Long shot - Opening shot of a farm]\n[Scene 2: Medium shot - Close shots of cattle, chickens, hogs, etc.]\n\nWilliam Salmi, designer of the new HCE focal plane flash synchronizer for Graflex and Speed Graphic cameras, is based at the Hollywood Camera Exchange's technical and research department, 1600 Cahuenga Boulevard. Salmi has designed the HCE focal plane flash synchronizer for Graflex and Speed Graphic cameras. A lens shutter is not necessary with this device, ensuring a uniform exposure with no hot spots or fadeouts. Flashes up to 1/1000 of a second are achievable with this synchronizer. A money-saving feature is the safety mechanism it includes. (December, 1939, American Cinematographer \u00ae)\nThe device in the synchronizer eliminates the possibility of flashing bulbs while winding the focal-plane shutter curtain. Its design is of the simplest character, with the battery case, cord, and reflector as the only visible parts. The heart of the synchronizing unit is constructed within the camera to keep it within adjustment and ensure perfect synchronization at all times. This feature expands the range of the Graflex and Speed Graphic in the field of sports and action events. The price of the extra equipment is $25.\n\nGerman commercial attache reports: A representative of the German motion picture industry and the director of the Association of Slovakian Motion Picture Theater Owners met to discuss details of a close cooperation between the two groups.\nThe question of German film imports was carefully examined. It is reported that the Slovakian motion picture industry will be completely reorganized, both technically and financially as well as culturally. The first step, it is said, will be to prohibit the exhibition of films of the wild-west and gangster type. Instead of silent films, one would rather have sound instead if they're not too costly. Here's a simple plan that offers you all the advantages of Sound-On-Film at moderate cost. Like other cinematographers, you may be surprised to learn that Sound-On-Film often costs no more than a good job of professional titling. Instead of sound-on-disc, if the cost is moderate enough, these are several reasons why you'd prefer to use Sound-On-Film instead. You know it's easier to get perfect synchronization with Sound-On-Film.\nTo achieve professional sound-on-film, follow these two simple and economical steps:\n\n1. Choose a professional sound-on-film laboratory to score the sound and music for your films. All of them are equipped with B-M apparatus and qualified to record professional sound. They can produce results that range from simple to elaborate, depending on your specifications. The laboratory you select will be glad to advise on how to send your material to them and provide an estimate of cost based on your film description.\n1st Steps for Enjoying Sound on Films\nNew York, NY\nSound Masters, Inc.\n1560 Broadway\nKansas City, MO\nThe Calvin Company\n26th and Jefferson\nNew York, NY\nSpot Films, Inc.\nPasadena, CA\nRoger Sumner Productions\n327 East Green Street\n\nIf your camera isn't already equipped, you want a synchronous motor drive to film your pictures at synchronous speed. For a Cine Kodak Special Camera, you need the Berndt-Maurer Synchronous Motor Drive illustrated here. If you have some other 16mm camera, there is a suitable synchronous motor available for it as well.\n\n2nd Step\nTake these two simple steps and begin to enjoy the benefits of sound on all your future films. Write today to one of the four Sound-On-Film laboratories listed above. Then order your synchronous motor drive. If you have any questions that are not answered here, write for additional information.\n\nthe Berndt-Maurer Corp.\n117 EAST 24th STREET, NEW YORK, N.Y.\nWest Coast Sales Office: E.M. Berndt Corp., 5515 Sunset Blvd., Hollywood, Calif.\nDecember 1939 \u2022 American Cinematographer 563\nMotion Picture Equipment\nStudio and Laboratory Tested Since 1929\nAUTOMATIC DEVELOPING MACHINE\nCOMPLETE IN EVERY DETAIL\nHollywood users can attest to the machine's superiority.\nUsers all over the world can recommend this developing machine.\nThis practical machine can be used in any climate.\nEasily installed \u2014 quick deliveries.\n\u2022 Sensitester \u2014 for light tests and sensitometric strips.\n\u2022 Sound Recording Systems\nArt Reeves\n7512 Santa Monica Blvd.\nCable Address: ARTREEVES\nHollywood, California, U.S.A.\nUse of fine grain positive emulsion\nEqual to that obtained from ordinary stock using electrical noise reduction.\nThe most complete advantage in using fine grain stock is obtained only where\n(Continued from Page 537)\nequal to that obtained from ordinary stock with electrical noise reduction.\nThe most complete advantage in using fine grain stock is achieved only where\nThe film laboratory has developed a specific developer for this stock's characteristics. Under these conditions, an H and D characteristic of the negative at a gamma of 0.35 is demonstrated on Fig. II. It is observed that the toe-to-shoulder latitude widens, and the overall printed through sensitometer strip shows no deviation over the range of densities required. (Fig. III.) An increase in the film's apparent modulation is achieved, allowing the theatre to use less amplification for the required loudness. This is due to both increased frequency response and the actual film transmission being greater than the indicated transmission by the visual densitometer.\n\nBecause of this increased transmission, the theatre's amplification for fine grain variable density need not be any greater than for variable area, with the added benefit of reduced amplification requirements.\nflexibility is inherently available in variable density systems for changing levels by changes in print densities. Figure 4 shows photo micrographs taken by F. E. Ross and K. B. Lambert, which show the grain size and clumping of the various combinations tested. The bottom of the figure demonstrates that when a square wave with a fundamental of 7000 cycles is recorded, the increased fidelity in the negative is apparent in maintaining a more proper density gradient.\n\nAction Stills with focal-plane flash were used. However, in every instance, it is noticeable that even with this brief exposure, the single No. 31 flash-bulb provided the principal illumination, effectively penetrating all other lighting.\n\nAs will be seen from the illustrations,\nThe movement, even in such fast-moving extremities as hands and feet, was \"stopped cold.\" The small stop permitted extreme depth of field, which could not have been obtained in any other way.\n\nWhen compared to previous methods, the value of focal-plane synchronization can be easily perceived. We can now make these shots actually on the set, instead of against an uninteresting, white background outdoors.\n\nWe can use any shutter-speed necessary to \u201cstop\u201d the action, up to and including our cameras\u2019 maximum of 1/1000th second. Actual tests have shown excellent synchronization at 1/1000th second, with ample exposure values.\n\nThis, incidentally, points the way to further possibilities: the use of focal-plane synchronized flash exposures in place of reflectors for normal, exterior high-speed action stills.\n\nFinally, in our immediate problem of\nMaking action stills of dance routines, there is the obvious advantage of eliminating the use of reflectors which, as has been said, almost invariably force the player to squint or even blink in the dazzling glare of reflected light. The photoflash, even though it is infinitely more intense than any possible reflected sunlight, is of such brief duration that it is over before the player is conscious of it. Accordingly, the synchro-flash picture is made before the player has time to blink. This is a definite advantage. In conclusion, it may be said that this new focal-plane synchronizer bids fair to advance the scope of studio still work to a measure second only to the familiar advances already made possible by lens-chutter synchronization. Further experimentation and actual use on production will of course be necessary to determine fully what can be achieved.\nBut this new tool cannot solve and stillman has gained something that will simplify some of his most perplexing problems in it.\n\n564 American Cinematographer \u2022 December, 1939\n\nForeign Representatives of Bardwell & McAlister, Inc.\nPHOTO CINE SOUND AGENCIES, Ltd. Bombay, India\nGRUN Bros. Cairo & Alexandria, Egypt\nBardwell & McAlister, Inc.\nMOTION PICTURE ELECTRICAL EQUIPMENT\n7636 Santa Monica Blvd. Hollywood, California Tel. Hollywood 6235\n\nThis is the most sensational development in the history of photographic lighting, in the opinion of leading Hollywood camera men. This amazing new light has been tested and proven over and over again under the grueling conditions of Hollywood\u2019s movie studios ... and you know any light has to be good to pass such requirements.\n\nHere are a few outstanding features which have:\n\n1. Removed unnecessary line breaks and whitespaces.\n2. Removed \"But it is certain that in it the studio stillman has gained something that will simplify some of his most perplexing problems.\" - This sentence is not necessary to understand the text and seems to be an introduction added by a modern editor.\n3. Removed \"Here is the most sensational development in the history of photographic lighting in the opinion of leading Hollywood camera men.\" - This sentence is also an introduction added by a modern editor.\n4. Translated \"anyr\" to \"any\" for clarity.\nThe new \"BABY KEG-LITE\" was a sensation at Hollywood Studios:\n\nInstant Focusing \u2014 The light beam can be spread instantly to any desired angle, and a patented device enables duplication of any lighting effect.\n\nIntensity \u2014 The light output of the \"BABY KEG-LITE\" is three times greater than the average light of equal wattage.\n\nAdaptability \u2014 Weighing only 25 pounds, the \"BABY KEG-LITE\" is easily handled.\n\nColor \u2014 It excelled for color photography.\n\nWrite for free description, FR FF I've got with quantity. Also reprint Folder of valuable lighting articles including series of lighting diagrams.\n\nKEG itE\n\"FO CO-SPOT\"\nOptional Accessory\nFor \"BABY KEG-LITE\"\nIdeal For Special Shadow, Silhouette, Background Effects.\n\nAn additional attachment for the \u201cFoco-Spot\u201d is the background slide which accommodates glass plates furnished with it. The variety of\nEffective backgrounds for this device are endless. Designs may be drawn or painted on glass slides. Tin foil may be cut in patterns and inserted between two glass slides. Flower petals, frayed cloth, wire screen, etc. may be used for projected backgrounds.\n\nBell & Howell presents a new sheath case of patented design for the Filmo 141 16mm. camera. Bell & Howell introduces a new case for the Filmo 141 16mm. camera, which differs radically from the ordinary type of cut-out case used on a candid camera.\n\nIn this new case for the Filmo 141 camera, the camera is screwed to a tongue that is permanently attached to the case. When the camera is in use, the body of the case forms a camera rest against the chest for greater steadiness in movie making. All the camera controls remain visible throughout use with this new candid camera case.\n\"The \"ready rest\" case offers simplicity in use, as loading the magazine doesn't require detaching any part of the case from the camera. The price is $6. Goerz Optical Company Unaffected by War Situation\n\nThe European situation does not disrupt the sales program of the C.P. Goerz American Optical Company, located at 317 East Thirty-fourth street, New York. The company declares its New York factory is prepared to supply American retailers with a full line of its American products, as it has done for over four decades. Since 1899, the company has produced fine anastigmat lenses for various photography branches, including photo-engraving and movie camera lenses, as well as accessories. Sensing the possibility of interruption\"\nThe new candid \"Ready Rest\" carrying case for Bell & Howell Filmo HI movie camera. Americans intensely defend the home front, living up to tradition and expressing charity through the Community Chest, eliminating sore spots and relieving unfortunate families and caring for children in the community. \"The great heart of America\" is America's great strength.\n\nEighteen thousand volunteers and donors ask all citizens to give of their substance starting November 8 to help other citizens.\n\nor delay in imports of certain types of optical glass necessary for the production of its celebrated lenses, it has at this time sufficient stock on hand to take care of all normal demands of the trade for a considerable period.\nThe November meeting of the Washington Society of Amateur Cinematographers was held in the lecture room of the Mount Pleasant Library at Sixteenth and Lamont Streets, N.W., on the 6th. The meeting was opened with an informal discussion of movie-making questions. Mr. Whetsel from the Ritz Camera Center demonstrated a Bell & Howell sound projector and screened \"In the Wake of the Buccaneers,\" a sound picture of the Virgin Islands.\n\nDecember, 1939\nAmerican Cinematographer 565\n\nIdeal Christmas Gift\nONE NEW DOMESTIC SUBSCRIPTION TO THE\nAmerican Cinematographer (One Year)\nAND\nAmerican Cinematographer Handbook and Reference Guide\n(BY JACKSON J. ROSE, A.S.C.)\nFor Subscription and Book, $3.15\n\nProfessional or Amateur\n35mm, I6mm, 8mm motion pictures, tables and charts for Cine cameras, film, filters, lenses, angles, miniature cameras, lights, calculators, color systems, exposure meters, timers, projection, developers, toners, etc., over 200 pages of essential material.\n\nONE NEW SUBSCRIPTION\nONE HAND BOOK\nSaving of $2.35 \u2014 for limited time only\n\nSt. Paul Club has gala event in State Capitol\n\nOn November 6 in the Chamber of the House of Representatives of the Minnesota State Capitol, the St. Paul Amateur Movie Makers\u2019 Club presented \u201cBarbara Steps Out,\u201d an outstanding record of the history and activity of the School Police. The club had made the film for the Department of Public Safety of St. Paul.\n\nAfter the premiere showing of the film, it was handed to the Governor, Harold E. Stassen, an honorary member of the St. Paul School Police.\nThe film was delivered to city officials. The evening's entertainment program included acknowledgements and introductory remarks by E. E. Bauman, chairman of the scenario committee. Secretary Ford Marshall of the club presented the film. The Governor, Mayor William H. Fallon, and Gus H. Barfuss, commissioner of public safety, accepted the club. Homer B. Thomas introduced a color travelogue of the Black Hills. The picture had been made by the club's technical advisor, Hans Reuter, for the Northwestern Railroad.\n\nTwo years ago, the St. Paul Amateur Movie Makers' Club produced a teaching film for the St. Paul Police Department, \"Spare the Evidence.\" This film has been widely used in training new recruits in the department. Clinton A. Hackett, Chief of Police, encouraged the club based on this success.\nThe need for a documentary film about the St. Paul School Police and their youthful traffic helpers had become evident. The colorful events of the annual activities for the 2500 boys and girls required the new film to be produced in natural color. This venture presented numerous technical problems, including lighting the entire Auditorium in the Public Safety Building for the annual election of School Police Chiefs. Lighting experts from the Northern States Power Company were called in, and five cameramen were assigned to cover the event. Another problem was the careful selection of color film under changing outdoor lighting conditions.\nChanges in sunlight from passing clouds ensured uniform exposures in the annual picnic and parade depicted in the finished film. Thousands of dollars' worth of equipment was used to make certain parts of the film, but much of the work was done with ordinary, inexpensive equipment. In some instances, home-made, crude devices were assembled for editing and titling. The spontaneity of enthusiastic boys and girls, confident guardians of the school population, is what brought real-life motion picture drama from St. Paul to the screen. The cameramen were sometimes swamped with children wanting their own pictures included, but the club members who helped film this documentary picture will not soon forget the tremendous cooperation.\nThe outstanding qualities of the school police boys and girls are apparent.\n\nArt Reeves Designs Interchangeable Developer\n\n(Continued from Page 541)\n\nA place for ordinary, wooden spring-clip clothes pins is provided. Since the drive goes through the bottom rollers only, the film in the disconnected section does not move. When it is desired to change from negative to positive development, or vice versa, the strand in the unused section is merely connected into the line using staples or Mercer clips, while that in the other section is disconnected. Developing-time changes are made by a simple adjustment of the variable speed control.\n\nWith the new compensating take-up, it is therefore possible to interchange without delay from 35mm. negative to 16mm. positive, from 16mm. negative to 35mm. positive, or any other necessary combination.\n\n566 American Cinematographer\nDecember, 1939\nWho gets a \nREG. U.S. Pat. Off. \nTHE PERFECT GIFT FOR YOUR FRIENDS WHO\nNothing adds more to the enjoyment of home movies or projected still pictures than a good screen. A Da-Lite Glass-Beaded screen will give your friends not only brighter, clearer projection, but the utmost in convenient service. Many styles from $2.00 up. Remember when you give a Da-Lite screen you give equipment that has been famous for quality for 30 years. See Da-Lite Screens at your dealer\u2019s or write for illustrated literature!\n* Prices slightly higher on Pacific Coast\nDA-LITE SCREEN CO., INC.\nDEPT. I 2 A C, 2723 N. Crawford Ave., Chicago, IL\nPhiladelphia Cinema Club\nThe diversified features of the November meeting of the Philadelphia Cinema Club gave the members an opportunity to compare the \u201cold\u201d with the\n\n(Note: The text appears to be an advertisement for Da-Lite Screens and a brief mention of an event at the Philadelphia Cinema Club. The text is mostly readable, but there are a few minor issues such as missing words and formatting inconsistencies. I have made some minor corrections to improve readability, but have otherwise left the text as close to the original as possible.)\n\nWho gets a REG. U.S. Pat. Off. THE PERFECT GIFT FOR YOUR FRIENDS WHO\nNothing adds more to the enjoyment of home movies or projected still pictures than a good screen. A Da-Lite Glass-Beaded screen will give your friends not only brighter, clearer projection, but the utmost in convenient service. Many styles from $2.00 to $2.723 N. Crawford Ave., Chicago, IL. Prices slightly higher on Pacific Coast. Remember when you give a Da-Lite screen you give equipment that has been famous for quality for 30 years. See Da-Lite Screens at your dealer\u2019s or write for illustrated literature!\nDA-LITE SCREEN CO., INC.\nDEPT. I 2 A C, 2723 N. Crawford Ave., Chicago, IL\nPhiladelphia Cinema Club\nThe diversified features of the November meeting of the Philadelphia Cinema Club gave the members an opportunity to compare the \u201cold\u201d with the new.\nThe silent film \"Entitled to Success,\" an 800-foot 16mm. black and white production by Charles J. Carbonaro, demonstrated how details can bring out the story in an amateur production. In contrast, R.M. Hoot submitted a 400-foot reel of his first movie efforts, also a 16mm. black and white production. Hoot's first efforts, while not in the same class as \"Entitled to Success,\" clearly showed that he understood the art of making movies when he first held a movie camera. Hoot's current efforts are in high demand.\n\nThrough R.W. Henderson, of our own club, we were permitted to see and hear an amateur production of Kodachrome sound on film taken by himself with Mrs. Henderson's cooperation at the Worlds Fair. It is evident.\nMovie makers cannot correct outside conditions that interfere significantly with proper sound rendition accompanying the moving picture itself, particularly background noises and reverb. The Aquacade's construction caused reverberation that distorted the band music, making it difficult for the microphone to separate true music from background noise. Mr. Henderson's photography was excellent, and we hope to see more of his work. A Christmas party for members and their children will be held at the December meeting. There will be presents for the children delivered by Santa Claus. Movies will be taken of the meeting, which will be devoted entirely to this event.\nEntertainment of a type intended to attract and hold the attention of children. B.N. Levene, Chairman of Publications Committee.\n\nHugo Meyer Announces New Synchronized Range Finder\n\nHugo Meyer, maker of precision photographic lenses and photo-optical instruments, announces a synchronized range-finder for plate and filmpack cameras. While formulated on exact trigonometrical calculations, the manipulation of this instrument is extremely simple. As one glances through its eyepiece, one observes two squares, one within the other.\n\nThe view seen in the larger square remains fixed. Superimposed on this field is a second image shown in the smaller square. As the focusing knob is adjusted, the smaller field moves laterally across the main field. When the two images coincide, the camera is in exact focus. The image is bright, brilliant.\nThe Meyer Range Finder is contrasty and extremely visible, allowing for quick and easy observation. Its square field yields a larger, more readily visible image, providing an easier and more certain method of focusing than traditional round fields. In terms of precision and adherence to modern optical and mathematical calculations, the Meyer Range Finder is the ultimate instrument of its kind. A notable feature is the mathematically calculated principle that coordinates the optical system of the range-finder and camera lens, making the camera a truly autofocal, automatic instrument that will unfailingly capture its subject in exact focus. The highly accurate calculations of the coupling.\nFor eliminating errors in synchronized range finders at intermediate distances, refer to Hugo Meyer & Co. Regarding this accessory, they manufacture it in their New York workshops located at 39 West Sixtieth Street. December, 1939 - American Cinematographer 567\n\nAgfa's New Speedex Makes Strong Bid for Popularity\nPhotographic dealers exhibit Agfa Ansco's latest offering in the realm of fine hand cameras: the new Agfa Speedex. Precision-built and 100% American-made, this compact and capable instrument boasts design, construction, and workmanship features that make it a remarkable value at its low price.\n\nThe Speedex comes equipped with an f/4.5 Anastigmat lens of 85mm focal length and a precision shutter with speeds ranging from 1/1000 to 1/3.\n\nAgfa\u2019s Speedex, f/4.5 anastigmat lens of 85mm focal length and precision shutter with speeds from 1/1000 to 1/3.\nThe Speedex camera has an 85mm focal length and takes 2x2.5 inch prints. It has a shutter speed of 1/250 second, as well as time and bulb exposures. The camera measures 5% by 3% by 4 inches (closed) and takes twelve 2.4x2.4 inch pictures per roll using inexpensive B2 size film. Focusing ranges from 3.4 feet to infinity, adjusted by a focusing ring on the lens mount. The pre-set shutter is released by a button on the camera body. The Speedex is unusually attractive with its trim, compact lines, a rich black, wear-resistant covering, and polished chromium metal. Additional beauty is provided by the smooth, molded top containing the eye-level viewfinder, built-in shutter release, opening release button, and winding knobs. An additional feature of the Speedex camera.\nA new-type camera with a self-erecting platform and precision movement brings the lens and shutter assembly into a rigid, picture-taking position. The camera has a recessed tripod socket centrally located on the base, a single film window \"peephole\" in the center of the camera back, built-in eyelets, and a separate neckcord as standard equipment. A special ever-ready leather carrying case is available for $4.75.\n\nAgfa's Reflector Kit for After Dark Work\nAmateur photographers planning to make snapshots at night indoors with photographic flash or flood lamps will be interested in the new, inexpensive Agfa reflector kit now available at photographic dealers. The kit includes two folding reflectors made of heavy, durable card stock with especially good color and reflection characteristics.\nCharacteristics for photographic use. Printed on the side panels of each reflector are full directions for use, including exposure recommendations and suggested lighting arrangements.\n\nThe new Agfa reflector kit also includes two metal adapter rings for fitting reflectors to standard home lighting fixtures, a handy ten-foot folding rule that eliminates the need for guessing distances, and a convenient exposure calculator.\n\nThe exposure calculator is of the \u201cslide-rule\u201d type and quickly indicates suggested lens and shutter settings for cameras loaded with Superpan Press or Superpan Supreme films, and for a wide range of lighting conditions.\n\nThe European war is likely to result in making New Zealand virtually dependent on the United States for its motion picture films, according to Nathan D. Golden of the Department of Commerce.\n\nMotion Picture Film.\nA new simple driving principle for the film in developing machinery. Requires no precision maintenance. Uses 7W film carrying rollers. Complete with temperature control for developer and developer agitation and circulation unit. Thoroughly modern and safe. Unbelievably easy to operate. Being used by the world's largest laboratory. Fonda Machinery Company, 8928 Santa Monica Blvd., Los Angeles, CA. Cable Address \u201cFonda\". American Cinematographer, December 1939. Eastman Projection 70 has made a new 8mm standard. Smartly designed, sturdily built, easier to operate, a new Kodascope Eight, Model 70, is announced from Rochester by the Eastman Kodak Company. This Kodascope Eight is stated to set a new standard for 8mm projectors. Among its outstanding features are: die-cast construction, attractively finished.\nThe projector is gray, made of gun metal with chromium finished parts. It features a one-inch f/1.6 Eastman-made projection lens, which with a 500-watt lamp enables displaying images up to 39x52 inches on beaded or aluminum-surfaced screens. A newly designed film gate, held open by a catch during threading. Convenient threading knob. A positive three-position switch controls the lamp, motor, and cooling fan. A positive framing by a knurled screw atop the projector; the outline of the picture on the screen does not move during framing. Rapid rewind, initiated by a pull of a rewind lever. Automatic release of takeup drive during operation. Rewinding is done with the lamp off. A speed adjustment knob offers absolute control of the projector's motor speed. Easy tilting over an unusually wide angle by an easily grasped adjustment knob on the projector base. A highly efficient cooling system, in-built.\nIncluding special cooling flanges, double-wall lamphouse, and powerful motor-driven fan. Removable lamphousing provides ready access to lamp, reflector, and condenser lenses. Accommodation for 300, 400, or 500 watt lamp, and lamp adjustment screw for obtaining maximum illumination. Convenient carrying handle, located to ensure projector is properly balanced when lifted. Main bearings pre-lubricated. Sturdy, roomy carrying case with space for projector, extra reel or two, extension cord, and an emergency splicing outfit.\n\nGoerz American Company\n\nComplies List of Products\n\nIn the interim, while a more comprehensive illustrated catalogue of the various types of Goerz photographic lenses is being compiled, the manufacturers present a concise listing of the company products. In the event the information is not sufficient for the reader to make a decision, please contact the company directly.\nThe company invites him to take up his particular problem personally. Having manufactured and sold Goerz lenses in the United States for over forty years, it may make the modest claim of having acquired some experience which could be helpful to the professional and amateur photographer, both cinematic and still.\n\nOn the evening of November 27 at Carthay Circle Theatre, Los Angeles, Paramount previewed \"The Great Victor Herbert.\" A few weeks prior, it had done the same for \"Geronimo.\" Both pictures had gone through the new process of fine grain positive, on which several studios have been working but on which Paramount has been a leader. \"Geronimo\" was the result of many shots, covering several years with varying brands of negative. Excellent as the results were.\nThe picture was photographically and in sound submerged by Victor Herbert. Photographed recently on the latest negative and reproduced on fine grain positive by Paramount, it touched the heights under the hand of Victor Milner, A.S.C., and sound by Hugo Grensbach and John Cope. The photography will be recognized by the millions, clear to the vision and resulting knowledge; the sound consciously and subconsciously by one or another.\n\nTo Paramount as an organization, the picture is a real achievement. To Loren Rider and Dr. Charles R. Daily of the sound department, Ray Wilkinson of the laboratory, and Roy Hunter of the camera department, along with all their associates, the picture means much \u2013 proof that while Wall Street worries about the financial and other phases of its production, the artistic side has not been neglected.\nIndustrial existence, the substantial and enduring side of motion pictures, is being well taken care of. Those who heed photography will pay tribute to Vic Milner for his artistry, as they will to the technical skill of the sound men. In \"The Great Victor Herbert,\" the occasional becomes the regular; the lighting, exposure, and sound are so striking, so unusual, they surmount the illusion.\n\nDecember, 1939\nAmerican Cinematographer 569\n\nGevaert Company Will Manufacture Film Here\n\nThe Gevaert Company of America, Inc., a New York corporation, has acquired a factory of considerable size for the manufacture of the well-known Gevaert photographic products in this country. The factory is situated in Williamstown, Mass.\nThe company expects to have a sufficiently large area for future expansion. In a few months, it will be able to supply American-made films and other sensitized materials. Currently, it operates as distributors for Gevaert Photo-Producten N.V. of Belgium, with headquarters at New York and branches in Boston, Philadelphia, Chicago, Los Angeles, and San Francisco. Film finishing operations are carried out on a large scale in New York, where a modernly equipped cutting plant is maintained for cutting and packing various types of photographic paper, supplied in full factory rolls by the Belgian Company. Additionally, three amateur movie film laboratories are operated in New York, Chicago, and Los Angeles. Several hundred people are employed in the combined locations, but it is anticipated that American labor will be used in much greater numbers.\nThe greater number of employees will be required by the new factory. Naturally, many of the unemployed in the communities in closest proximity will reap the benefit of this enterprise. The Gevaert Company of America, Inc., has taken this step because of its desire to assure its American clientele not only of a continuity of supply in these difficult times, but also in order to better serve the American trade by increasing its production facilities and bringing its source of supply closer to its markets.\n\nSpencer Lens Celebrates Finish of Giant Building\nAn open house for employees, local business, professional men, and editors of business publications marked the opening of the new additional Spencer Lens Company plant October 26, in Cheektowaga, NY, near Buffalo.\n\nNinety-two years have elapsed since Everything Photographic and Cinematic for Professional and Amateur.\nThe World's Largest Variety of Cameras and Projectors. Studio and Laboratory Equipment with Latest Improvements as Used in Hollywood Studios. New and Used. BARGains.\n\nHollywood Camera Exchange\n1600 Cahuenga Boulevard\n3651 Hollywood, California\nCable: Hocamex\n35MM, 16MM. Laboratory Equipment for Color and Black and White. Continuous Sound and Picture Printers ... Automatic Developing Machines ... Light Testing Machines ... Registration Step Printers ... Bi-Pack Color Step Printers ... Optical Printers.\n\nLaboratories Write For Details\n\nFried Camera Co.\nCable Address: FRIEDCAMCO\n6156 Santa Monica Boulevard\nHollywood, Calif.\n\nFearless Products\nHarrison Filters\nTAGU\nBackground Process\nMoviolas\nsound Equipment\nLights /p r n . , , TL BACKGROUND LIGHTS^ 5 5 KVICFVproc\u00ab?J\nMotion Picture camera Supply-\n723 SEVENTH ave. NEW YORK, NY\nThe pioneer Charles A. Spencer, first American microscope maker, initiated commercial production. A planned program of research and development, as well as entry into new fields of scientific instrument manufacturing, necessitated expansion for Spencer Lens Company, the Scientific Instrument Division of American Optical Company. To its Doat Street plan in Buffalo, Spencer now adds over 100,000 square feet of floor space. The Doat Street facilities will be used for general offices, research and development, lens production, assembly, final inspection, and related services.\n\nThe new building is 210 by 410 feet overall, of steel, brick, and concrete construction. The main factory is single-story. A two-story section on two sides contains offices, the production engineering section.\nThe factory includes a laboratory, department, locker rooms, a cafeteria, and a completely equipped kitchen. Generous use of glass in the side walls makes this a perfectly day-lit factory. More than an acre of glass is built in. Mercury vapor and Mazda combination units provide an average of 43 foot candles of artificial lighting at working plane height.\n\nCameraman Goes Up in Air\nWhen Actor Pranks the Cameraman\n\nVincent Price, a six-foot-four-inch film leading man, confounded cameramen with a favorite trick on the set of Universal\u2019s \u201cThe Invisible Man Returns.\u201d Price baffled Milton Krasner, A.S.C., cinematographer, by upsetting \"sets up\" of scenes as lined up with stand-ins by the cameraman.\n\nEach time Price stepped into a scene, his head would be half cut off in the camera \"finder.\" Krasner accused nearly everyone in the company of moving his camera until he discovered that Price was responsible.\nBefore stepping in, Price had borrowed his stand-in's \"lifts.\" The latter devices, attached to the shoes, raised Price's stand-in, who was only six feet one inch tall, to the actor's height. With the \"lifts,\" Price became six feet seven inches tall, and Krasner's line-ups were thrown out of focus.\n\nMedium shot \u2013 Scene 3 \u2013 Shot of farmhouse and door of porch.\nClose-up \u2013 Scene 4 \u2013 Shot of door. Girl opens door and calls.\n\nAfter completely listing your scenes in this manner, write in the action of each scene. You will then have your story laid out so that anyone can read it and visualize the action of the whole scenario.\n\nReread the scenario many times, making a mental picture of each scene as you read, and determine whether each scene is necessary.\n\n(Continued from Page 562)\n\nAmerican Cinematographer \u2022 December, 1939\nMany scenarios contain difficult-to-surmount problems and slow-moving sequences that give a lapse of time or series of events. These can be effectively overcome by using \"montage\" shots. Montage is a series of short scenes that, when viewed in order, convey a lapse of time or series of events. Each scene may vary in length, but when combined with certain other scenes, they collectively express a certain phase or thought.\nFrom two frames to any length necessary, according to the picture's tempo. Each scenario requires its own montage effects, and its ability to convey an idea to the audience depends on the cameraman's ingenuity. A montage effect to denote household work can be assembled by combining short shots of routine work, such as laundry, ironing, dishwashing, scrubbing, sweeping, etc.\n\nShort close-ups of each action will highlight a housewife's daily duties or suggest work. If you watch a professional screen, you will usually find a montage sequence that carries you forward in the story with the cameraman showing you a tedious series of events that would retard the tempo.\n\nBuilding the climax of the scenario must be done by increasing the audience's suspense. Place your hero in a precarious situation where he must race against time.\nTo create engaging films, overcome challenges and achieve your goals. Remember, you cannot rely on dialogue or sound effects for this, and suspense must be portrayed. If your scenarios seem slow or weak in certain sequences, rewrite them to improve them and visualize their appearance on the screen before shooting them. It's difficult to generate tension in an audience, but producing a yawn is a simple matter.\n\nTell a Story\nAvoid labeling your films as \"amateur\" by not shooting pot shots. Even when filming a fifty-foot roll of a family, make it tell a story. For instance, have them play bridge with one member receiving a perfect spade hand. This provides opportunities for close-ups, showing different expressions, and ties the shots together. Or a group at a cabin can be shown doing all the necessary chores while a conflict arises.\n\"Lazy-bones\" sleeps. When everyone has gone tired, \"Lazy-bones\" awakens and wants someone to go hunting with him. Add a few touches of humor and your short reels are more interesting.\n\nTempo in continuity is the speed at which your scenario flows. The story controls the tempo, often starting at a medium speed, quickening to the climax and tapering off to the final love scene.\n\nQuick cutting of action shots speeds the tempo, and injecting \"montage\" shots keeps your audience mentally alert to catch each scene as it appears. Love stories usually move slowly, but comedy or drama is quickened by fast action, short scenes, and tense moments. Pictures of fast tempo are more popular.\n\nWhen planning a continuity, keep the primary factors in mind. Ensure that the story is strong and subtitles are few. Analyze the camera angle.\nYou want to prevent a picture from \"dragging.\" Keep it moving so the audience stays alert. Avoid trick shots that aren't effective, which are often overworked and detract from a good picture. Don't rush. You have a story to tell, so tell it clearly, effectively, and smoothly. Continuity must flow evenly, fast, and be properly edited and cut. Continuity is the element that keeps the audience's train of thought unbroken until the final fadeout. A good picture is never made in a hurry. Check your scenario against these items before filming:\n\n1. Does the story require a fast tempo?\n2. Is each scene closely related to the following scene?\n3. Is each sequence a short story in itself?\n4. Will humor add or detract from the story?\n5. Are there too many titles?\n6. Will montage shots convey the intended meaning effectively?\n[7. Are the characters well chosen for their ability to act? 8. Does suspense build to the climax? 9. Are camera angles well chosen for desired effect? 10. Does the story call for somber (low key) or gay, frivolous (high key) lighting? 11. Are longshots and closeups properly placed? 12. Can some scenes be shortened by suggesting the action?\n\nLanders & Trissel, Inc.\nRENTALS \u2022 SERVICE: -\nMOTION PICTURE CAMERAS - BLIMPS - DOLLIES - CAMERA CRANE\nAND ALL ACCESSORIES\n\nPhone:\n6313 Sunset Boulevard\nNear Vine Street\nHollywood, California\n\nNight\n\nLanders HE-1311\nTrissel - Sunset 25992\nCAMERA SUPPLY COMPANY\nArt Reeves\n\n1515 North Cahuenga Boulevard\nCable Address \u2014 Cameras\nCalifornia\nHollywood\n\nEfficient-Courteous Service\nNew and Used Equipment\nBought \u2014 Sold \u2014 Rented\nEverything Photographic\nProfessional and Amateur]\nHEADQUARTERS for the 4 \nCAMERAMEN \nSpairwell - \nstudio & cutting room equipment \nIrfrights.LFMc \nms \ncrHnlclA,4S \" A C \n,,'cs Cameras \nFrank-Zucker \nCABLE ADDRESS: CINEQUIP \n(Camera equipment \nVfiP 1600 Broadway nyc Circle 6-5080 \nDecember, 1939 \u2022 American Cinematographer 571 \nMGM Builds Unique Camera Boom \n\nIn this the camera is slung beneath the panning mechanism, though of course the pan and tilt controls are in their usual places, beside and slightly under the camera. Each gives the camera a full 360-degree rotation in its plane; the crank-wheel controls favored at M-G-M are used; The panoramic movement is geared to unusually high speed: only 14 revolutions of the control wheel are required to revolve the camera through a full 360-degree circle. A single, well-upholstered seat, of tubular metal construction, is provided.\nfor the operative cameraman. This seat is quickly removable when not needed. Ordinarily, no seat is needed for the assistant, as the camera is focused by an adaptation of a DC remote-control method.\n\nProvision is made for mounting a second camera above the crane arm. This has a conventional M-G-M type pan-and-tilt head, and pans and tilts wholly independent of the lower camera.\n\nBuilt-in Counterbalance\n\nA source of constant irritation, and in some cases even of danger, in conventional crane designs is the system of counterbalancing the weight of camera and crew, which is usually done by means of removable lead weights placed in a box at the opposite end of the arm.\n\nIn Arnold\u2019s new boom, the counterbalance is built permanently into the arm. Compensation for the varying weights of equipment and crew is made by turning a large control wheel at the base.\nThe counterweight moves towards or away from the fulcrum, adjusting its leverage and enabling accurate boom balancing. With a set-screw friction lock on a quadrant, the arm can be locked in any position. A similar lock limits the boom's horizontal rotation, and automotive-type brakes are on the rear wheels. A full circular catwalk is provided for the boom operator, made of four demountable sections. At the front end are two extendable tubular members for the stage crew to push the crane for dolly-shots.\n\nFilm editing equipment\nUsed in every major studio\n(Movola)\nIllustrated Literature, Moviola Co.\n1451 Gordon St., Hollywood, Calif.\nA non-extensible, curved bumper is fixed at the rear for the same purpose, and also as a guard-rail. All of these units \u2013 catwalk, pushing arms, and bumper \u2013 are instantly demountable.\n\nFlexible Operation\nThe degree to which the unique construction employed by Arnold saves weight may be judged by the fact that while comparable-sized booms of conventional construction have an average weight of over 7600 pounds, the new M-G-M boom weighs but 3100 pounds.\n\nFaxon Dean Inc.\nCameras\nBlimps-Dollies for Rent\n4516 Sunset Boulevard\n\nCooke Cine Lenses\nCooke lenses will give you crisp, extremely sharp definition throughout the entire spectrum.\nEnvisioning future demands, Cooke lenses have always surpassed current requirements.\nFocal lengths for every need.\n\nBell & Howell.\nCompany\nExclusive World Distributors of Taylor-Hobson Cooke Cine Lenses\n1848 Larchmont Avenue, Chicago\nNew York: 30 Rockefeller Plaza\nHollywood: 116 N. LaBrea Ave.\nLondon: 13-14 Great Castle St.\n\nYet there appears to be no sacrifice in either strength or rigidity. Arnold has designed this new boom to be as nearly as possible a completely universal camera carriage. Its rigidity is such that it can be employed, except in the most cramped quarters, as a stationary camera support in place of conventional tripods and the like.\n\nIn this service, the elevated crane arm and underslung camera mount give the camera crew more clear working space about the camera than any conventional type of tripod or boom. At the same time, the crane arm, together with the power-driven hoist and free-rolling chassis, makes accurate positioning of the camera quicker and easier.\nThe suitability of the unit for the majority of moving-camera shots will be obvious. The precise control of the counterbalancing facilitates one-man operation in scenes where the camera must quickly follow an actor from a low position to a normal or high one, or the reverse. Additionally, the underslung camera mount will permit the boom arm to be extended completely over a prop such as a cafe table or even an automobile, and, with the boom extended to the side of the chassis, to dolly from or to such a position without interfering with the use of the prop in the wider angles of the same shot. Altogether, the unit appears unusually versatile, and represents a distinct forward step in the evolution of mobile camera platforms. The application of advanced materials and engineering principles to its construction is also notable.\nWorthy of congratulations are M-G-M and designer Arnold for achieving the following. Three educational booklets from the Berndt-Maurer Corporation, located at 117 East Twenty-fourth street, New York, offer copies to any individual seriously interested. The title \"How to Benefit from Sound Films and How to Obtain Them at Lowest Cost\" indicates its contents. Reasons for employing sound motion pictures on a broader scale than before are outlined, along with problems effectively solved by movies. The two other booklets are technical in nature and demonstrate how sound recording directly in 16mm film produces higher quality results than recording on 35mm film and reducing to 16mm for the final print.\nFred Hoefner, Cinema Camera Shop, 915 N. La Cienega, Los Angeles, CA, Telephone Crestview 5-7092, 572 American Cinematographer, December 1939\n\nAbstracts of papers from recent Hollywood engineers convention: 281.\n\nAcademy names committee on camera award.\nAce Movies of England produce \"The Miracle\": 26.\nAerial photography: 153.\nAgfa Ansco's history reaching for century: 199.\nAgfa Ansco providing new greeting card equipment.\nAgfalite new portable has great flexibility: 395.\nAgfa issues new texture screens and border mask.\nAgfa lowers cost of fast films: 39.\nAgfa's Memo Camera in dealers' hands: 178.\nAir Camera Club pays honor to Fremont High.\nA. Gilks new Secretary-Treasurer, A.S.C: 298.\nAmateur Photography: 441, 462.\nAmerican Annual of Photography is out: 473.\nAmong Movie Clubs: 134.\nAmpro announces two new model projectors: 37.\nAmprosound  Model  UB  now  in  hands  of  Ampro \ndealers :  314. \nAnton  F.  Baumann  passes:  376. \nApplying  common  sense  to  shooting  stills  in  Koda- \nchrome:  455. \nApril  14  date  for  the  Littles\u2019  Tenth  Annual  Movie \nArchie  Stout  injured  by  heavy  seas :  356. \nAround  the  World\u2019s  studios:  404. \nArt  Reeves  designs  interchangeable  16mm. -35mm. \ndeveloper:  541 \nArt  Reeves  home  from  Cuban  trip :  133. \nArt  Reeves  in  Mexico  looks  over  film  works:  525. \nA.  S.  C.  men  turn  out  to  discuss  meters:  151. \nAugust\u2019s  \u201cGunga  Din\"  takes  reporters\u2019  poll  for \nJanuary  :  105. \nAustralia  has  its  laboratory  problems :  246. \nB \nB  &  H  continuous  attachment  provides  for  800 \nfeet  16mm.  film :  86. \nB  &  H  extends  to  West  preservative  method :  309. \nB  &  H  Filmosound  equipped  with  pilot  light:  92. \nB  &  H  issues  screened  tale  of  how  cartoons  are \nBell  &  Howell\u2019s  Western  branch  entertains  deal\u00ac \nBert Glennon, A.S.C. wins camera honors: 149\nBert Glennon introduces new method of interior photography: 82\nB-M Lights enter field of color photographs: 177\nBook Reviews: 90, 91\nBringing Hawaii home: 502\nBritish Cinematographer talks of Hollywood: 303\nBuilding movies around music: 319\nBureau of Mines goes strong on filmmaking: 123\nCall ninth session on visual education: 203\nCamera rest for Filmo 141 designed by Bell & Howell: 565\nCan\u2019t combine jobs of director and cameraman, says Garmes: 157\nCinecolor formally opens big new plant: 185\nCinecolor makes contribution to color: 443\nCinecolor opens Burbank plant: 114\nCleaves visits Ford\u2019s: Now Negative No. K-42\nColumbia tells of camera by broadcast: 378\nConsolidated installs 16mm. department: 367\nCooperation is the key to camera award: 65\nContinuity is the prime factor of story telling: 562\nCounty Supervisors take pictures of drunk driving with Curtis color camera and fast: 281.\nCutting parallax worries in hand cameras: 120.\nAmbertint Film Includes Machine Processing\nHere's the REAL film for exceptionally fine results when taking outdoor movies. Ambertint is a fine-grain, 16mm. reversible safety film, packed on daylight spool, ready to load and shoot.\nGives you better outdoor results\nWeston rating of 8 \u2014 Ambertint gives you outdoor detail, contrast and shading comparable to higher priced film. Shoot more outdoor at less cost: with Ambertint. Order SEVERAL rolls NOW. California buyers include sales tax.\nHollywoodland Studios \u201cThe West\u2019s Greatest Film Mail Order House \u201d\nWrite For Bulk Film Catalog\nSouth Gate _ Callforma\nDa-Lite screen makes second price revision: 238.\nDeadline approaching to Tenth Movie Party: 104.\nDeath of Frank B. Good: 295.\nDebrie 16mm reduction printer: Densitometry and its application to motion picture laboratory practice: 391, 468, 512.\nDevise Sunflector as cinematographer's help: 560.\n\nPacific Laboratories\nComplete 16mm Film Service\nMachine Developing\nComposite Prints, Duplicate Negatives, Sound Track, Editing, Titling, etc.\nSound Recording\nDirect on 16mm film or Acetate Discs. Sound Truck Available for Location.\nHigh Standard of Quality Assured by Sensitometry and Time and Temperature Control.\n1027 No. Highland\nHollywood, CA 0226\n\nSuccessful S color movies taken with\nGoerz Kino-Hypar lenses\non Kodachrome, Dufaycolor and other color films.\nThe high chromatic correction of these lenses will yield results which will be a revelation to you and your friends.\nClear-cut images, undistorted, of microscopic definition and wonderful, crisp brilliance.\nFocal lengths from 15 mm to 100 mm can be fitted in suitable focusing mounts for amateur and professional movie cameras. GOERZ REFLEX FOCUSER - Patented - A boon to 16 mm movie camera users - eliminates parallax between finder and lens - provides full-size ground-glass image magnified 10 times. Adaptable to lenses 3\" and up. Also useful as extension tube for shorter focus lenses for close-ups. Extensively used in shooting surgical operations, small animal life, etc.\n\nAddress: Department AC-12\nC.P. GOERZ AMERICAN OPTICAL CO.\nAmerican Lens\nNew York, NY\nMakers Since 1899\n\nDocumentaries for the amateur: 414.\n\"Documentary Film\" has genuine interest: 262.\nDocumentary filming in America: 130.\nDocumentary No. 1: 342.\nDocumentary's achievements told by Schustack: 40.\nDoolittle builds rewind and film viewer: 312.\nDorothy's Double Date (a Script): 132.\nDr. Gerstenkorn makes record of public park: 220.\nDye transfer enters commercial field: 310.\nEastman 8mm. Super-X pan three times as fast.\nEastman issues silent 16mm. films by Teaching Division: 522.\nEastman issuing two classy camera models: 506.\nEastman takes on lamp of Bardwell-McAlister: 397.\nEastman Projector 70 has new 8mm. standard.\nEclair Camera makes Hollywood bow: 418.\nEditing odd footage: 71.\nEducating 300,000,000 with 16mm. movies: 510.\nEdwin L. Dyer, A.S.C., passes: 274.\nEffects: 370.\nEmby Company opening plant for manufacturing equipment.\nEngineers' Hollywood convention hits high mark: 94.\nEngineers' Hollywood Spring convention: 94.\nEngineers name E. Allan Williford as President: \nEnglish documentaries have theatre interest: 104.\nEric Berndt opens plant in West for B-M equipment.\nFaster color film cuts light in half: 355.\nFaster films and better equipment for 8mm: 454.\nFast films and color have made big light changes: \nFather Meeus battling for the youth of China: 188.\nFather Meeus with camera describes the youth of: 328.\nFeminine Foolishness: 328.\nFilm industry in India holds April convention: \nFilming Aloft: with minicam or movie: 153.\nFilmoarc Projector lifts 16mm. to 35mm.: 171.\nFilm production in Brazil: 110.\nFiltering arcs for matching quality in mono-chrome: 269.\nFilters cannot perform miracles: 421.\nFine Grain films make stronger advance: 486.\nFirst semester at U.S.C. active in camera work: \nFixing up family films: 111.\nFonda Machine Company completes developer: 80.\nFonda 16mm. developer now ready for market: \nForming cooperative amateur production units: \n4000-mile cruise at sea for Australian photographer: \nFrank B. Good. A.S.C., Secretary-Treasurer: 248.\nFried builds business in five years: 34\nFrosty Filming: 13\nGadgets for the Moviemaker: 57\nEnhanced 16mm Reduced g\nGeo. W. Colburn Laboratory\nSpecial Motion Picture Printing\n1197 Merchandise Mart, Chicago\nIn World's Us and fsigbf\nEffects in Day for Scovos-\nDiffused Focus and many other ways\nGcorqo H. Schlicbing\nORIGINATOR OF EFFECT FILTERS\n1927 West 78th St. Los Angeles CA\nDecember, 1939\n\u2022 American Cinematographer 573\nGaudio declines honors bestowed by Italian government: 170\nGeneral Electric process to remove glare: George Barnes awarded nod in Reporter\u2019s poll\nGerman camera takes 80,000 shots a second: 352\nGevaert Company will open United States plant\nGoerz unaffected by war situation: 565\nGooseneck blimp lamp real trouble chaser: 163\nGordon Head completes action camera: 32\nGrabbing night effects in daytime: 370\nH.\nHere are tips on editing and splicing: 508, 438, 449, 465, 466, 368, 377, 394, 394, 394, 198, 567, 259.\n\nHigh sensitivity featured in new Weston meter.\nHollywood engineer designs new type of meter.\nHollywood Forum has busy fifth annual.\nHollywood man installing focal plane synchro.\nHome Movies need sound.\nHow moving pictures are moved by stills.\nHow to improve your titles.\nHugo Meyer announces new synchronized range finder.\n\nImagination enhances photographic values.\nImproved wild cinemotor developed.\nIn Australia\u2019s contest, 22 films are entered.\nIndia\u2019s film history passes in review.\nIn foreign countries, few simple tools are adequate.\nInstall two theatres in famed film library.\n\nJohn Alton, A.S.C., does it again: 394.\nJohn Alton, A.S.C., wins praise in Argentina.\nJohn Alton returns to Hollywood from abroad.\nJohn Arnold again heads A.S.C.\nJohn Boyle on long motor trek overseas: 345\nJohn Grierson: Maker of Documentaries: 442\n\"Juarez\" declared a really great picture: 166\nJust here and there: 294\n\nKeen competition marks 1938 Contest: 61\nKodak precision enlarger unique: 416\nKodak puts on market its Supermatic shutter: 318\nKodak puts up building and puts down prices: 227\nKuhne\u2019s camera records marvels from air: 406\n\nLet's edit a travel film: 205\nLet's make movies \u2014 in the rain: 371\nLighting the new fast films: 69\nLittle's Tenth Party a great success: 228\n\nMake-up and set painter aid new film: 54\nMaking action stills with focal-plane sync:\nMaking modern matte-shots: 493\nMaking newsreel of family Thanksgiving: 516\nMaking stereoscopic 8mm. picture in color: 210\nMaking the cannons roar . . . and how!: 267\nMarshall & Clarke get air thrill: 315\nMaurer tells Engineers about 16mm. sound progress: Maurice Kains builds automatic agitator. Midsummer Madness (a script): 284. Metal film steadily progresses: 59. Methodical preparations pay dividends: 323. M-G-M builds unique camera boom: 539. Miller\u2019s \u201cBluebird\u201d to be shown on road: 543. Mines Bureau revises four petroleum films: 306. Modern Movies installs optical 16mm. to 8mm. printer: 318. Movie Club notes: 87. Mr. and Mrs. Marples film South Seas: 225.\n\nNew England inquires, why not authentic locales? New publications: 138, 184. New tests coordinate make-up: 11. Note on building novel projection stand: 445. Notes from Movie Clubs: 38.\n\nOne B & H model replaces three 16mm. projectors: 166. Pacific Laboratories announce complete 16mm. service: 500. 574 American Cinematographer. Philadelphia Cinema holds third annual banquet.\nPhotographic book reviews: 41-2-3\nPractical gadgets expedite camera work: 215\nPraise comes for camerawork: 412\nPress photography with the Miniature Camera\nProcess shots aided by triple projector: 363\nQuality for the Amateur Cinesmith: 462\nRandolph Clardy makes first 8mm talker: 164\nRCA builds largest loudspeaker: 137\nRCA designs turntable for record reproduction\nReeves offers first independent rerecorder\nRemerscheid named Bell & Howell vice-president\nRemodeling A Picture sets to benefit B's: 555\nReproduction of film exposed forty years ago: 546\nRise of the American Film - a book review: 547\nRuttenberg takes November\u2019s photographic honors\nRuttenberg wins Academy's camera award : 102\nTelevision highlights engineers' convention : 254\nThalhammer issues line of photographic accessories : 235\nThe Amateur Alpinists (a script) : 235\nThe Girl Next Door : 79\nThe Parkers sail around South America with cameras : 159\n\u201cThe Wrong Hat\u201d : 174\nThree Way microphone announced by RCA : 180\nTime and temperature versus test for negatives : \nTitling : 368\nTo use blood in color photography : 202\nTrace documentaries back to 1932 : 226\nTwo Kodachrome films mounted free by Kodak : \nTwo Television centers, says Lubcke : 358\nTyrone Power's camera records Andes : 305\nUnlike 1914, Kodak now gets supplies at home : \nUse of fine grain positive emulsions for variable density film recordings : 536\nVersatility added by Eastman lens combination :\nSt. Paul's Club puts on show at second annual.\nSt. Paul\u2019s Club tests Cine-Kodak Super-X: 464. Securing uniform results with meters indoors: 6. Seltzer and Basil direct and photograph Setting 1938 Contest winners to music: 108, 173. Sherlock wins two in a row: 29. Sherlock\u2019s \u201cNation Builders\u201d Winner: 16. Shooting from air uncovers camera marvels: 223. Shooting local fairs: 401. Shoot three-dimension pictures with Polaroid: 304. Short cuts in editing: 354. Simplifying set design: 357. Smoothing rough spots off vacation movies: 452. Some notes on exposures for beginners: 514. Something to remember: 390. Sound men witness remarkable Vocoder tryout: Sound quality improvements obtained with grain smoothing. Smoothing scene transitions: 551. Spyros Skouras opens U.S.C\u2019s second semester: Stills from 8mm film: 21. Stranger in New York: 247. Studying photoelectric exposure metering: 510.\n8. Telco begins production.\n127. Walker builds zoom lens for 16mm.\n560. Walker wins another award.\n299. Walker wins May camera award.\n24. Warner Brothers install battery of Mitchell new Studio Model Cameras.\n351. When family travels, plan carefully.\n272. When shopping for a camera.\n277. Whittington lab on wheels has a lot to do.\n249. Why not stage a real movie party?\nWitherspoon new head of Spencer Lens Company.\nDebrie Printer. Sacrifice.\nMatipo-S 35mm. Sound and Picture Printer. 20 automatic light changes.\nBought to make dupe negatives, but not used due to change in requirements.\nLike new. Price only $1,000.\nThe Pathescope Co. of America, 33 West 42nd St., New York City.\nClassified Advertising\nFor Sale\nThe world\u2019s largest variety of Studio and Laboratory equipment with the latest.\nImprovements as used in Hollywood tremendous savings. New and Used. Mitchell, Bell-Howell, Akeley, De Brie, Eyemo, animation process cameras, lenses, color magazines, adaptors, lighting equipment, silencing blimps, dollies, printers, splicers, moviolas, motors, light-testers, gear boxes, synchronizers. Guaranteed optically and mechanically perfect. Send for bargain catalogue.\n\nHollywood Camera Exchange\n1600 Cahuenga Blvd. Hollywood, Calif.\nCable : Hocamex\n\nBell & Howell Studio Sound Camera, like new. No. 859. Joseph Tilton, 920 S. Aiken Ave., Pittsburgh, Pa.\n\nWestern Electric Interlock Motor mounted on door for Mitchell Standard Camera.\nCamera Equipment Company\n1600 Broadway New York City\nTel. Circle 6-5080 Cable : Cinequip\n\nRaby Studio Equipment Turntable dolly in new condition.\nCamera Equipment Company\n1600 Broadway New York City\nTel. Circle 6-5080 Cable : Cinequip\nWE BUY, SELL AND RENT PROFESSIONAL AND 16mm EQUIPMENT, NEW AND USED. WE ARE DISTRIBUTORS FOR ALL LEADING MANUFACTURERS. Rubber Camera Exchange, 729 Seventh Ave., New York City. Established since 1910.\n\nNew Precision Test Reel for Projection and Sound. Developed by prominent SMPE member. Combination visual, sound tests for all soundtrack adjustments. Indicates travel ghost, sidesway, picture jump, etc. Contains visual targets and constant level frequencies. W.E. Mirrophonic recording. Truly simplified, easily understood. Comparative value, $75.00. With full instructions, $29.50. 16mm WANTED\n\nWe pay cash for everything photo graphic. Write us today. Hollywood Camera Exchange. 1600 Cahuenga Blvd., Hollywood.\n\nWanted to buy for cash\n\nCameras and accessories: Mitchell, B & H, Eyemo, Debrie, Akeley. Also laboratory and cutting room equipment. Camera Equipment Company.\n1600 Broadway, New York City\nCABLE: Cinequip\nDecember 1939\nPalm-size & Still Only $49.50\nAs Little as $10 Down\nWhile prices are still low, buy the Filmo you've been wanting. Despite the upward trend of commodity prices, Filmo Cameras are still priced lower than a year ago. A Filmo is a gift that the whole family will enjoy. Buy now, while prices are still low.\nNew 16 mm\nThe whole family will enjoy these latest Christmas films \u2014 either silent or sound, for rental or purchase.\nChristmas Time in Toyland (Santa's workshop; not a cartoon)\nChristmas 'Round the World (How it's celebrated in other lands)\nMail coupon for new film catalog describing, listing, and pricing all films.\nSee these Filmo Cameras and Projectors at a nearby Filmo dealer's, or mail coupon for full details.\nBell & Howell Company\n1848 Larchmont Ave, Chicago, Illinois.\nSend free literature describing: Palm-size Filmo 8, New Turret 8, Filmo 8 mm Projector, New 16 mm Filmo 141, Filmo Master 16 mm Projector, Christmas films. Also include new free catalog of sound, silent films. I now projector.\n\nDon't let palm-size Filmo's small size or low price fool you: it's a big camera. Big in value, big in precision, and big in versatility. It makes movies for less than the cost of snapshots ... in color or black-and-white, indoors and out.\n\nHas four speeds, single exposure for making animated titles and cartoons. Provides masks for use with telephoto lenses, and like all 8 mm Filmos, new or used, it can be equipped with a new film rewinding device for making dissolves and double exposures. With F 3-5 lens, speeds to 64 (slow motion), $7.50.\nBell & Howell Company, Chicago; New York; Hollywood; London. Since 1907, the largest manufacturer of precision equipment for motion picture studios in Hollywood and the world.\n\nNew Filmo Turret 8\nBe prepared for any movie scene with the new Filmo Turret 8. It mounts three lenses in matching viewfinders on a revolving turret. When a lens is in position, its matching finder unit is too. The Filmo Turret 8 also has a new eye-parallax-correcting viewfinder, critical focuser, four speeds including slow motion, and single frame exposure. Filmo 8 mm Projector\n\nFilmo 8 mm Projector offers 400- or 500-watt illumination for brilliant pictures as wide as six feet! Rock-steady screen pictures are assured by camera-matched film registration system. Is fully gear-driven. Capacity: 200 feet. $118 with case.\n\nThe \"Sheldloading\" Camera Filmo 141 is so simple.\nThe Filmo-Master is a superlative 16mm silent projector. It operates almost automatically and is versatile, even for the most advanced movie maker. It provides instant magazine loading and allows for mid-reel change from color to black-and-white film without spoilage. Other features include quick lens interchangeability, a new \"positive\" viewfinder that eliminates off-center pictures, four speeds, and single frame exposure. With the Taylor-Hobson 1-inch F2.7 lens, it costs $115. The Filmo-Master is fully gear-driven and has a 750-watt lamp and Magnilite condenser to assure brighter home movies. It includes power rewind, separate lamp switch, lens focus lock, pilot light, two-way tilt, and other features. Capacity: 400 feet. Christmas Films Precision-Made by Mitchell Cameras. Advanced designs.\n[MITCHELL CAMERA CORPORATION, North Robertson Boulevard, West Hollywood, CA, Phone Oxford 1051, London, England: BELL & HOWELL, Ltd., Sydney, Australia: CLAUD C. Carter, Osaka, Japan: D. Nagase & Co., LTD.]\n\nMotion Picture Camera Supply Co., New York City\nFazalbhoy, Ltd., Bombay, India\nH. Nassibian, Cairo, Egypt\n\nAgencies:\nMotion Picture Camera Supply Co., New York City\nFazalbhoy, Ltd., Bombay, India\nH. Nassibian, Cairo, Egypt\n\nMitchell Camera Corporation, North Robertson Boulevard, West Hollywood, CA 1051, London, England: BELL & HOWELL, Ltd., Sydney, Australia, CLAUD C. Carter, Osaka, Japan, D. Nagase & Co., LTD.", "source_dataset": "Internet_Archive", "source_dataset_detailed": "Internet_Archive_LibOfCong"},
{"language": "eng", "scanningcenter": "capitolhill", "sponsor": "The Library of Congress", "contributor": "The Library of Congress", "date": "1939", "subject": "Baseball", "title": "Baseball in old Chicago,", "creator": "Writers' Program of the Work Projects Administration in the State of Illinois", "lccn": "39030625", "collection": ["library_of_congress", "fedlink", "americana"], "shiptracking": "ST011238", "partner_shiptracking": "IAGC155", "call_number": "6439972", "identifier_bib": "00017682337", "lc_call_number": "GV863 .F4", "possible-copyright-status": "The Library of Congress is unaware of any copyright restrictions for this item.", "note": "If you have a question or comment about this digitized item from the collections of the Library of Congress, please use the Library of Congress \u201cAsk a Librarian\u201d form: <a href=\"https://www.loc.gov/rr/askalib/ask-internetarchive.html\">https://www.loc.gov/rr/askalib/ask-internetarchive.html</a>", "publisher": "Chicago, A.C. McClurg & co.", "description": ["4 p. l., 64 p. 24 cm", "Text on p. [3] of cover"], "mediatype": "texts", "repub_state": "19", "page-progression": "lr", "publicdate": "2019-07-23 11:40:21", "updatedate": "2019-07-23 12:36:53", "updater": "associate-richard-greydanus@archive.org", "identifier": "baseballinoldchi00writ", "uploader": "associate-richard-greydanus@archive.org", "addeddate": "2019-07-23 12:36:55", "operator": "associate-annie-coates@archive.org", "tts_version": "2.1-final-2-gcbbe5f4", "camera": "Sony Alpha-A6300 (Control)", "scanner": "scribe1.capitolhill.archive.org", "imagecount": "94", "scandate": "20190725182849", "ppi": "300", "republisher_operator": "associate-hazel-tabanag@archive.org", "republisher_date": "20190730210859", "republisher_time": "1054", "foldoutcount": "0", "identifier-access": "http://archive.org/details/baseballinoldchi00writ", "identifier-ark": "ark:/13960/t77t5h027", "scanfee": "300;10.7;214", "invoice": "36", "openlibrary_edition": "OL6394865M", "openlibrary_work": "OL7199111W", "curation": "[curator]admin-andrea-mills@archive.org[/curator][date]20191011182613[/date][state]approved[/state][comment]invoice201908[/comment]", "sponsordate": "20190831", "additional-copyright-note": "No known restrictions; no copyright renewal found.", "external-identifier": "urn:oclc:record:1156336721", "backup_location": "ia906907_32", "oclc-id": "3334372", "ocr_module_version": "0.0.21", "ocr_converted": "abbyy-to-hocr 1.1.37", "page_number_confidence": "82", "page_number_module_version": "1.0.3", "creation_year": 1939, "content": "[Baseball in Old Chicago\nCompiled and Written by the Federal Writers\u2019 Project (Illinois) Work Project Administration\nSponsored by The Forest Park Baseball Museum, Inc. and A. C. McClurg & Co., Chicago\nForeword\nMembers of the Illinois Project of the WPA Federal Writers\u2019 Program are engaged in the preparation of a number of individual studies of the social history of the State. Among these, one of the most valuable, both in its revelation of the life of the past and its relation to the interests of today, is the present volume, Baseball in Old Chicago.]\nOld Chicago. Here is presented in compact form, for the host of readers who are interested in the national game, the colorful story of its origin and early development in the Chicago area.\n\nMany persons have assisted in the preparation of this book. I wish to express especial thanks to members of the library staffs of the Chicago Public Library, the Newberry Library, the Crerar Library, and the Harper Memorial Library of the University of Chicago; Charles Spink, of Philadelphia, for permission to use material from Spink Sport Stories, written and published by his father, the late A.1 Spink; the office of Kenesaw M. Landis, national commissioner of baseball; Henry F. Edwards, director of the service bureau of the American League of Baseball Clubs; and Miss Louise Nessel, secretary; Miss Margaret Donahue, secretary of the Chicago Cubs.\nI am grateful for the assistance of William E. Golden, deputy clerk of the Cook County Court, Chicago, an old-time player and fan, who enlisted the aid of R. C. Weichbrodt (Skel Roach), now a justice of the peace in Oak Park, Illinois; Charles (Dot) Ebert, minute clerk of the Cook County Court; and Thomas Keegan, bailiff of the Cook County Court, all old-time players. I wish to express my sincere appreciation for the work of Edwina Guilfoil of this project, whose research and writing are responsible for the existence of the book. I also thank Sam Gilbert, Clair Cotterill, W. H. Williamson, and Frank Holland of the project for their valuable assistance.\n\nJohn T. Frederick\nRegional Director\nFederal Writers\u2019 Project\n\nFrom the first click of the turnstiles to the last crack of the bat,\nA baseball game is the most truly American thing in the United States. A few other games \u2014 cricket in England and pelota in the Basque country of Spain \u2014 share this characteristic nationalism, but none approaches baseball in the millions of its followers and the warmth of their devotion.\n\nFor baseball is a true growth of American soil, owing little or nothing to foreign games, and it holds a place in the hearts of nearly all Americans. What American has not, in his youthful days, held a bat in his hands and wildly swung at a ball lobbed over the plate by a tow-headed, freckle-faced youngster? What man of mature years has not rubbed his \"ketcher's mitt\" with lard purloined from his mother's pantry, or counted a genuine league baseball among his treasures? What man \u2014 or woman \u2014 has never sat in the stands?\nIn the stands and yelled, \"Sock it, Butch!\" or felt a tingling in the spine as Butch obligingly clouted the ball far and wide? Such persons there probably are, but they should be pitied, for they have missed something of their birthright as Americans.\n\nWhat other game could, in one of its tense moments, inspire dignified judges and bankers to wring their thirty-dollar panamas into pulp, and clerks to smash their ninety-eight-cent straws? What but sheer baseball madness could cause a lady to beat her thousand-dollar parasol to bits over the head of a stranger, as did one famous actress of years gone by? At a baseball game, the fan, for an hour or two, lives life in the raw; crude, savage, elemental life, with no law but the law of the jungle: victory to the strongest or craftiest! He shrieks \"Kill that umpire!\" and for the moment feels he could.\nThe unlucky man is throttled with bare hands. Yet, it is only a game with no actual savagery or brutality. If attendants and officials are vigilant, keeping pop-bottles and other weapons out of reach, no mayhem will be committed. At the end of the game, the real fan goes home, hoarse, disheveled, limp, but actually purified by his experience. He has blown off his steam, and for another week or another month, depending on his real gentleness, he can be a kindly parent and a good citizen. Baseball is an excellent safety valve.\n\nSome people decry the crudity of baseball, its ungentlemanly attitudes, its frank emphasis on winning, but these are an integral part of the game's Americanism. Baseball has built its own code of sportsmanship, a rough but democratic one: a fair race for all; beyond that, no favors asked or given.\nBaseball is one hundred years old. In 1839, Abner Doubleday, a young civil engineer from Cooperstown, New York, and later a Union general in the Civil War, created the game by laying out a playing field and formulating rules essentially the same as those of today. Since then, our national pastime has gone through numerous changes of rules and organization, but none of these has been fundamental.\n\nThe one hundredth anniversary of baseball\u2019s beginning is a fitting time to review the early years when the game was reaching those heights of popularity which make it our national game. This brief book is not intended to be a general history of baseball, as that has been written before, but is limited to its formative years in Chicago from the earliest games to 1900.\n\nThis year was selected as a stopping point because it marks the beginning of baseball's professional era.\nBefore 1900, organized base ball struggled along uncertainly, with the National League the only organization of real strength and permanence. At the turn of the century, the American League came into being, and professional baseball boomed as never before, due to the rivalry between the two leagues.\n\nDespite its increasing popularity, something went out of baseball around 1900. Having existed primarily as a sport, it was destined to become a business. The old baseball parks were crude and unattractive, but spectators went to see games, not to gaze at the scenery and trimmings. It was not as good a show, perhaps, but it was lit up by its own color and not by decorations. The players of that day were a rough and swaggering crew who played baseball.\nFor the glory and a little cash, with no hope of breakfast food endorsements or radio engagements. Another reason for limiting this book to baseball of the last century is that the last really important changes came in 1887, when the pitcher was given greater freedom in his delivery. Since then, the rule-makers have done little but clarify the rules and smooth out some rough spots. Hence the period from the 1890s onward is considered the era of modern baseball. But the chief reason for going back into the nineteenth century is that baseball after 1900 is adequately chronicled. The records since then are complete and easily available. Sports writers have no difficulty looking up baseball facts of the twentieth century, but when they delve into the earlier years they discover a mass of confusion.\nThis book is restricted to the teams and players of Chicago. Chicago holds a position in baseball second to none. Its franchise in the National League is counted as the first, in honor of William A. Hulbert, the Chicagoan whose efforts made and preserved the league, of which Chicago and Boston are the only surviving charter members. Chicago teams asserted their supremacy early and have been strong contenders for national honors in most years. More importantly, however, is the claim for Chicago's leadership advanced by the late Charles A. Comiskey. \"Commy\" once said that Chicago is the best baseball city in the country, because of the loyalty displayed by Chicago fans, who support their teams.\nThis book enthusiastically recounts the exploits of diamond heroes in good and bad years. It is an attempt to revive for today's fan the half-forgotten, almost legendary feats of baseball players who wore handlebar mustaches and caught barehanded behind the bat, scorning mitts and gloves as sissy inventions when they were first introduced. This is not a record book with dreary pages of tabulations and massed statistics. Intended to be read and enjoyed, it brings to life once more those heroic players who spread the fame of Chicago on the baseball diamonds of the nation. Here on these printed pages walk the spirits of Cap Anson, A1 Spalding; of Kelley, Dalrymple, and Gore, mighty sluggers of their time; of fleet-footed Jimmy Wood and Billy Sunday; of Pfeifer and Williams, greatest infielders of their day; of Tom Foley, who first brought the World Series to baseball.\n\"When baseball was first played in Chicago is uncertain. Probably, there were games between pick-up teams before the newspapers considered the new game worthy of notice. However, as Chicago was only a raw frontier village in 1839 when Abner Doubleday gave the game its present form, it is not likely that the early settlers had much time or inclination for organized sports. Baseball gained a foothold in Chicago some time in the 1850s. On July 21, 1858, a convention was held by the Chicago Base Ball Club, at which the rules governing the Association and Congress of Base Ball Clubs of New York were adopted by local teams.\"\nA team called the Unions is said to have played in Chicago in 1856, but the earliest newspaper report of a baseball game is found in the Chicago Daily Journal of August 17, 1858. This report tells of a match game between the Unions and the Excelsiors to be played on August 19. A few other games were mentioned during the same year. No account of Chicago baseball would be complete without some notice of the game as played in the Prairies where in the Middle West. There were well-established teams throughout the state of Illinois as early as those of Chicago, if not earlier. Indeed, the Lockport Telegraph of August 6, 1851, tells of a game between the Hunkidoris of Joliet and the Sleepers of Lockport, which antedates anything similar for Chicago.\n\nCertainly the prairies of Illinois, Iowa, and other nearby states played a significant role in the early development of baseball.\nMany fine baseball players have come from the Midwestern region, with the sport being a favorite of Midwestern youth since pre-Civil War days. The records of these players and their teams are closely related to Chicago baseball. Prairie teams were natural rivals of Chicago teams, and many of their players rose to stardom after joining Chicago teams. In early days, the prairie states were a reservoir of talent that Chicago drew upon to rise to baseball fame. Although the game was initially viewed as a somewhat effete pastime due to the efforts of the famous Knickerbocker Club of New York to make it a \"gentlemen's game\" like cricket, its robust qualities strongly appealed to the vigorous young men of the Middle West. As a result, this region was quick to adopt the game after the lead of the East.\nBaseball, although there's no room in a small book for a lengthy discussion of its origin, the American national character of the game warrants some recognition of its beginnings. Beyond doubt, it's an American game, with minimal influence from other countries. While Doubleday is credited with making baseball what it is today, the game was played in some form prior to his rulemaking. Oliver Wendell Holmes mentioned playing a similar game with his college mates in 1829, but what he referred to may not have been baseball as we know it. Nevertheless, some form of the game was played before Doubleday's time, and his contribution, significant as it was, merely made it a truly good game.\n\nThe belief that cricket is baseball's ancestor should not be accepted. There's only a slight resemblance between the two games.\nThe other, while the differences are too great to admit any close relationship. Baseball appears to owe much more to a game called \"town ball,\" which was played on a square field, with four bases, one at each corner of the square; a home plate on one side of the square, midway between the first and fourth bases, with the pitcher's box in the middle of the square. As town ball was strictly an American invention, it will be seen that baseball is well removed from any suspicion of a foreign origin.\n\nFirst, although the regulations of the Knickerbocker National Club served as a guide to other baseball organizations, the rapid growth of the game between 1850 and 1860 made some general organization desirable. In 1858, representatives of many prominent clubs met and organized the National Association of Base Ball Players.\nThe body governed not only the rules and regulations of its members, but made its influence felt in state and local organizations, which submitted to its authority or adopted its rules. Baseball's growth was retarded by the Civil War. Some writers state, however, that the war had a beneficial effect on the game, as soldiers brought back a taste for the sport, acquired from playing it in army camps. That may be true, but on the other hand, the absence of these young men from their homes during the war years had a dampening influence on the development of the game. Many prominent clubs disbanded during the war years, among them the Excelsiors of Chicago, and baseball, as far as Chicago was concerned, practically ceased to exist as an organized sport. It seems\nThe old Excelsior base ball club, organized in 1857, had become one of the best in the west. After the outbreak of the War, many of its members enlisted, and the club was broken up. With the return of peace, the members have once again organized the old club and now practice regularly, twice a week, on their new grounds on the corner of May and West Lake streets. The officers are:\nW. Kennedy served as president, S. Budd as vice president, G. C. Smith as treasurer, and G. H. Kennedy as secretary. They adhered to the rules of the national baseball association in every respect. A game between two nines of the club was played yesterday afternoon, showcasing that they had not forgotten their baseball skills while engaged in rifle use. From 1865 to 1869, the revival of other baseball clubs in Chicago took place. The Excelsiors were the most prominent team during this period, defeating other local teams consistently. However, baseball activity was so high in the era that there were dozens of similar amateur teams, some newcomers, others bearing names of pre-war clubs. Many were insignificant and short-lived, but several challenged the Excelsiors' supremacy, among them the Atlantics.\nThe Eurekas, Ogdens, and Garden City team; of these, only the Atlantics were serious rivals. The first baseball tournament in which Chicago Baseball teams participated was held in Rockford. This small city holds the honor of having risen to baseball fame and success before Chicago. Rockford appears to have had a greater proportion of fans among its population than was usual at that time, and already its Forest City team, later to achieve national prominence, was known as a strong outfit. In June of 1866, Rockford citizens decided to hold a tournament to decide the baseball \"championship of the Northwest.\" They offered as first prize a gold baseball of regulation size (weight not given), and as second prize a gold-mounted bat made of rosewood. Not to be outdone in enthusiasm, the ladies of Rockford added two prizes.\nContributions to the prize list: a bouquet for the best batter, and a floral wreath for the one who made the most home runs. Clubs entered were the Atlantics of Chicago, the Detroits of Detroit, the Bloomingtons of Bloomington, Ill., the Cream Citys of Milwaukee, the Empires and the Schaffers of Freeport, Ill., the Excelsiors of Chicago, and the Forest Citys of Rockford. The Excelsiors won and brought home the golden baseball, a silver tea set for the most graceful playing, and the floral wreath, which went to J. W. Stearns for making the most home runs.\n\nThe Rockford tournament was so successful that Tournament Bloomington staged another in the early autumn. An even more impressive entry list included the Union and Empire clubs of St. Louis, the Olympics of Peoria, the Pacifies of Chicago, the Perseverance club of Ottawa, and the Louisville Grays.\nThe Olympic clubs of Louisville, Milwaukee, Freeport (Forest City and Empire), Dubuque (Capitol), Springfield, Jacksonville (Hardin), two Quincy clubs, and Chicago (Excelsiors) participated in a tournament in 1865. Dubuque's Capitol club held a tournament but there is no record of Chicago's entries. This tournament featured a specially built amphitheatre allowing spectators to witness two games at once. The Excelsiors emerged victorious. National followers of the Excelsiors felt confident during the 1867 season, having won two tournaments the previous year.\nFormerly, the haughty clubs of the Eastern states believed baseball on the prairies to be greatly inferior to their brand. But in 1867, the National club of Washington D.C., reputedly the best Eastern team, decided to make a tour of the West. Their visit to Chicago was the occasion for another tournament. This time, the Excelsiors went down to ignominious defeat, losing to the Nationals by a score of 49 to 4, on July 27.\n\nNewspapers reported the surprise of the tournament, what today would be called an upset, was the defeat of the Nationals by the Rockford Forest City club, in a game played on July 25, by a score of 29 to 23. As the Excelsiors had beaten the Forest Citys in a game not long before this, the Chicago tournament saw unexpected results.\nThe newspapers considered the Rockford team better. Some went too far and insinuated that their victory over Washington was not on the level. One paper directly charged that the contest was thrown, for better attendance and gamblers' benefit. This was the first time, if not the very first, that suspicion of crooked playing was voiced openly about an important team. The charges were absurd. The Rockford club, known as the strongest Western team, happened to catch the Nationals on an off day. It was their only lost game.\nWashington on its tour. The writer who made the accusation was likely inspired more by enthusiasm for the local teams than by malice, and his paper subsequently apologized to the visitors. The incident of 1867 demonstrated how seriously baseball fans were beginning to take their sport. One allegation touched a sore point \u2014 the matter of gate receipts. Up until this time, baseball was played primarily for the sake of the sport. The clubs were amateur groups that had banded together for the purpose of playing the game. Admission fees were charged merely to defray expenses; but with attendance figures running into the thousands at the more important games, it soon became evident that there was money in baseball. Still, this was not the only reason for the rise of professionalism in baseball.\nDuring the 1860s, local pride led to the offering of inducements to promising players in some instances. This was likely done on a semi-professional basis - finding jobs for the men and helping them in other indirect ways. Until 1868, there were no clubs on a frankly professional basis, with a salary list and a definite schedule of payments.\n\nCincinnati's Red Stockings are generally conceded to have been the first out-and-out professional team. There is evidence that they received money for playing in 1868, and in 1869 they shocked the baseball world by coming out in the open and announcing themselves as professionals. The National Chronicle commented on the move, \"Had the Cincinnati Base Ball Club depended upon home talent, it would never have been heard from outside of its own.\"\nThe locality selected the best nine players from Eastern clubs in 1869 and paid them $1,000 each to play from April to October. Professional baseball was not yet a path to prosperity. After the Chicago amateurs struggled through the 1868 and 1869 seasons with little success, it was clear that Chicago could not compete against strong teams that had acquired good players by paying them. In the failure of 1869, a professional organization called the Chicago Base Ball Association was formed. Potter Palmer served as president, and the list of organizers included the names of many other distinguished Chicago men, such as W.F. Wentworth, General Phil Sheridan, N.C. Wentworth, and C.B. Farwell.\nS. J. Medill, J. M. Higgins, W. W. Sprague, D. A. Gage, and others subscribed twenty thousand dollars, and it was planned to offer a flat salary of $1,200 for the season, which was expected to lure players away from clubs paying less. As manager and general factotum, they engaged Tom Foley, proprietor of the city\u2019s principal billiard hall, whose chief qualification for the post appears to have been that he was in close contact with the sporting element of his day. Under such auspices, Chicago plunged into organized professional baseball. An Era club came the formation of professional teams all over the country. Amateur baseball was henceforth to be played only in the schools and colleges, and by sand-lot and juvenile nines. Many chroniclers are inclined to shed a tear over the passing of amateur baseball.\nThe passing of amateurism was a healthy development on the whole. Amateur teams couldn't cope with traveling expenses, management issues, ground maintenance, and maintaining freedom from suspicion like in 1867. Among the teams listed as professionals before the 1870 season were Chicago, Cincinnati Red Stockings, Atlantics and Eckfords of Brooklyn, Athletics of Philadelphia, Kentuckys of Louisville, Mutuals of New York, Marylands of Baltimore, and Nationals of Washington, Trimountains of Boston, and others of almost equal prominence. Only Chicago, Cincinnati, Kentuckys, New York Mutuals, and Marylands were salaried teams. The others were paid with gate receipts or political jobs. Rockhills.\nFord's Forest City club is not mentioned as being professional at this time, but there is no doubt that it paid its players in some way as early as 1870 and probably before that. However, Foley was an amateur player of some repute. The 1865-1869 era witnessed phenomenal growth in public enthusiasm for the game. Baseball is admittedly one of the best sports from the spectator's viewpoint, with ample action and thrills and few details of the play that cannot be clearly seen. A match game between two first-class nines was then, as now, sure to attract large crowds, and in the 1860s, the baseball fan was already an established institution. Perhaps he had not reached the stage of umpire-baiting and bottle-throwing, but his partisanship was suitably hot and often noisy. The beginning of some one has said that the spirit of baseball is...\nBaseball depends on three things: the players, the fans, and the sports writers. The latter have done much to make baseball what it is, by keeping the fans well informed and creating public interest in the teams. In the early days, newspapers touched rather lightly on the games, but by the post-Civil War period, many reporters could write in technical fashion. They did not originate terms such as \"muffed the ball\" and \"hot grounder,\" but they helped bring them into general use. Like the writers of today, they were adept at making the other team's victory look like a fluke and finding consolation in the \"superb fielding\" or other good points of the losing club. \"Muffin\": It seems that nearly every man of the period, regardless of age or athletic ability, attempted to play baseball. Chicago had dozens of obscure teams.\nOddities included amateur teams representing commercial institutions such as the Field-Leiter department store, Potter Palmer\u2019s, and Farwell\u2019s. Some were formed by post office and opera house workers. Others consisted of groups like the Telegraphers, possibly for a game or two, but without permanent organization. A game played between two teams of Chicago Aldermen was described as the \"basest ball yet\" by a newspaper writer. Even women of the period were not exempt. In Henry Chadwick's Ball Players Chronicle, issue of July 25, 1867, we read:\n\nThe Base Ball Disease has attacked the women, the young ladies of Pensacola, Fla., having organized a baseball club. One of the rules is that whenever any member gets entangled in her steel wire and falls, she is to be immediately expelled from the club. A young lady named [Name] was the first to be expelled in this manner.\nThe ladies' base ball club has also been organized at Niles, Michigan. The steel wire referred to is the framework of the hoopskirts worn at the time. Baseball in hoopskirts! It must have been a sight worth going miles to see!\n\nAnother whimsical form of baseball was the widely prevalent \"muffin\" games. In its narrowest sense, \"muffin\" was simply a match between inexperienced players, sometimes the least skilled members of the big clubs. A \"muff\" or \"muffin\" became a bit of baseball jargon denoting a bad play, but the old-time muffin games were something more than mere exhibitions of bungling and inexperience. The players made their lack of skill a feature of the play rather than a drawback, and turned their performance into a burlesque exhibition that was sometimes quite funny. Outfielders would lie down on the grass, and do no more than point a lazy finger at the ball.\nIn the direction a hit had gone, to help some more energetic member retrieve the ball. Small sums of money were often secreted under bases, on the understanding that the first runner to reach that base could claim it as a reward, or a keg of beer was placed at second base as an incentive to hitters and baserunners. It was even against the rules of some muffin games to catch a fly ball.\n\nDuring the winter of 1869-1870, Manager Tom the New Foley went to work on his task of getting together a group of first-class ball players for Chicago. It was not as easy as had been expected. The plan of offering $1,200 as against the prevailing rate of $1,000 a season established by other teams proved to be no strong inducement in luring players. In several instances, it was found necessary to offer more to secure their services.\nTo obtain William H. Craver, the star catcher of the Haymakers of Troy, NY, $2,500 was required. Jimmy Wood, who was to play second base and act as captain, was obtained for $2,000. Other team members received $1,500 each. According to the Lakeside Monthly, a Chicago periodical of that time, Foley raided famous Eastern clubs such as the Athletics of Philadelphia, the Eckfords of New York, and Troy and Lansingburgh teams.\n\nAs there were no player contracts or reserve rules at the time, Foley's action in outbidding other clubs was just as ethical as a businessman who offers higher pay to the crack salesman of a rival concern. However, Foley's raiding caused great bitterness of feeling, especially among Eastern sports writers.\nUnfair Eastern writers jeered at the Chicago Club's pretensions to challenge Eastern superiority. They ridiculed the team's tactics, calling it \"Foley\u2019s What-Is-Charged-It,\" and mocked the idea that such an organized and directed team could be successful. They also alleged that Foley obtained some players by getting drunk with them and advancing them money. At least one player admitted to taking money from Foley, but denied agreeing to play for Chicago. The Eastern scribes coined the term \"revolver,\" which, as applied to baseball, meant a player who jumped from one team to another. They cited the case of Fred Treacy, a former Brooklyn player, who joined the Chicago Club in 1870.\nAfter being a member of five other teams in three years, Charles Hodes, another member of the new team, was also tagged as a revolver. All bitter words and harsh accusations are evidence of the chaotic conditions that marked the start of professional ball playing. Several years elapsed before clear-visioned men saw the need for a strong hand to prevent the worst abuses of a commercialized sport.\n\nUp to this time, Chicago baseball clubs had used their own club grounds or one of the numerous ball parks about the city, mostly on what is now identified as the near West Side. Two of the better playing fields were the one at West Lake and May Streets, and Ogden Park, at the foot of Ontario street, home of the Ogden Skating Club. Ogden Park was used later by amateur clubs for many tournaments and events.\nExhibition games. But now, with a brand new professional nine, facetiously called the $15,000 club, the organizers of the Chicago club had to have a suitable park, one that could accommodate the thousands of paying customers expected. They chose Dexter Park as the home of their high-priced stars and improved the field. Not new to baseball, for important games had been played there before \u2014 it was the scene of the disastrous tournament with the Washington Nationals in 1867 \u2014 Dexter Park was really a race track, with the baseball diamond inside the oval.\n\nChicago Baseball Parks Down to 1900\n1. Ogden Park, at the foot of Ontario street. Used by the Excelsiors and other amateur teams prior to 1870.\n2. Dexter Park, 42nd and Halsted streets. Used by amateurs before 1870, and by Chicago\u2019s first professional team in 1870.\n3. Lake Park: A city-owned tract of land on the Lake front at the foot of Washington and Randolph streets. Used as a baseball field by the professional team of 1871 and amateur teams.\n4. Twenty-third Street Park: State and 23rd streets. Used by the professional teams of 1874-1875, and by the first National League teams of 1876-1877. In the fall of 1877, the city council leased the Lake Park grounds to the Chicago club, which continued to play there until 1884.\n5. Loomis Street Park: Congress and Loomis streets. Home of the White Stockings from 1884 until 1893.\n6. West Side Park: In the block bounded by Lincoln, Wood, Polk, and Taylor streets. Used by the Chicago National Leaguers from 1893 until after 1900.\n7. Original South Side Park: At 35th street and Wentworth Avenue. Used by the short-lived Chicago Brotherhood League.\nIn 1890, under the management of Charles A. Comiskey, ball diamonds were laid out so that the catcher and batter faced the sun, while the fielders had it at their backs. Only players who faced in the general direction of the afternoon sun were positioned in the right field, first baseman, and second baseman. Chicago promoters arranged Dexter Park in this manner, not considering that this was not desirable for the spectators, who were also looking west. They aimed to make it as easy as possible for the fielders. It was a good arrangement from the playing standpoint of that day, as pitchers had enough difficulty getting batters out without having the fielders blinded by the sun.\n\nFor the accommodation of red-hot fans, a special stand was built inside the track enclosure, curving.\nLadies gathered around home plate and first and third base lines. The upper tiers of seats were demountable, allowing them to be taken down and not obstruct the view during races on the track. This seating arrangement provided for 12,000 persons, and in addition, a part of the race track grandstand and the clubhouse balconies could be used. Altogether, there was an estimated capacity of 30,000 persons, which must have been more than enough for a city the size of Chicago.\n\nThere was even a special stand for ladies built, and their presence at the game was looked upon as a desirable feature of patronage. One writer expressed the belief that they would have a refining influence upon the game and tend to repress the objectionable practices often displayed by crowds of men. Perhaps he meant swearing at the umpire.\nThe park was located about six miles southwest of Dexter, now the loop, near 42nd Park and Halsted streets, where the International Amphitheatre now stands. Many people considered it too far out. The park was connected to the city by a steam railroad and a street car line, but the street cars of that day were horse cars, and a six-mile ride in a horse car was not a pleasant experience. There was also a smooth, attractive carriage-way, over which the swells went bowling along in their buggies, oblivious to the heat and dust and everything save the fact that they were doing it in style. A good nag could make the distance in a little over thirty minutes.\n\nThe roster of the Chicago club of 1870 underwent some changes during the playing season.\nTeam: William H. Craver, catcher; W. Poyne, pitcher; Charles Hodes, shortstop; Michael McAtee, first base; James Wood, captain and second base; Edward Pinkham, third base; Edgar Cuthbert, left field; Martin, center field; Fred Treacy, right field; Levi Meyerle, alternate pitcher; William Flynn, substitute. Pinkham, whose name sometimes appears as Pinkerton, alternated as pitcher and seemed to have shouldered the pitching duties for the season. Ed Duffy was hired later as shortstop.\n\nOfficers of the club: David A. Gage, president; W. F. Wentworth, vice president; W. Lowe, secretary; William F. Tucker, treasurer; J. W. Bute, corresponding secretary; Tom Foley, manager.\n\nOrigin of the uniform: A blue cap, white shirt, blue pants, white stockings, and white uniform.\nStockings were named after the team, in imitation of Cincinnati's team, which was inevitably christened as White Stockings. The name stuck and was borne by Chicago teams right down to the turn of the century. It was later revived for Comiskey\u2019s American League club. Cap Anson\u2019s team, in the later years of his management (1890s), came to be called Colts, a name that stuck until they were christened the Cubs. Anson himself was responsible for the change of name, as he referred to the green players on his teams as a bunch of colts. There was no good reason for the change, any more than there was for calling the Washington team the Senators, when they were entitled to be called the Nationals.\n\nMystery surrounds this player. His name also appears as Burnes or Byrnes.\nThe Chicago National League club is the lineal descendant of the first professional Chicago team. In contrast, the White Sox bear the proudest name in Chicago baseball, rescued from oblivion by the late Charles A. Comiskey.\n\nSpring training camps and training tours did not exist in 1870. Yet, it is remarkable to read that the White Stockings, as a sort of overture to the season, went South during the spring of that year. There was no idea of training behind the tour, as the Chicago Club had already engaged in several games before leaving for the South late in April. Among them was a contest with the students of the old University of Chicago.\nThe Southern tour was highly successful, marked by a number of incidents gratifying to Chicago fans. The Eastern papers, still irked by Chicago\u2019s bid for baseball honors, pooh-poohed the string of White Stocking victories, asserting that they had played only inferior clubs. The New York Clipper, however, made amends for the smug attitude of most Eastern papers, by saying that Chicago was \u201cnot to be sneezed at\u201d in a review of its first four games. Before leaving for the South, the White Stockings had defeated the Amateur and Garden City clubs of Chicago by scores of 75 to 12 and 48 to 2, respectively; and had opened their tour in St. Louis with victories over the Union and Empire teams by scores of 41 to 1 and 36 to 8. The most notable game of the White Stocking\u2019s barnstorming tour was played at Memphis, Tennessee.\nRecord where Chicago defeated Memphis Bluff City club 157 to 1. This is claimed to be the largest score ever made in a game between two regularly organized teams.\n\nThe carnage was featured by a terrific display of batting power by the White Stockings, who made over 120 safe hits. The actual number (possibly much higher) cannot be given accurately due to the peculiar method used in scoring hits, but the White Stockings made 119 \"first base hits,\" and 181 total bases on hits.\n\nIn 1869, two amateur teams of Buffalo, the Niagaras and the Columbias, played a game won by the former, 209 to 10.\n\nUp to the sixth inning, the Bluff City nine \"held Chicago down\" to 84 runs. By that time they were so tired chasing the ball that the score was nearly doubled in the last three innings.\n\n\"Get on Manager Foley\" seems to have been a grim-humored individual.\nBefore the visit of the White Stockings, the Cincinnati Red Stockings had defeated a Memphis club with a score of 100 to 2. Believing themselves superior to the other locals, the Bluff City boys made bets that they would score from five to ten runs against the White Stockings, who they thought could not possibly be better. At the end of the seventh inning, they begged the White Stockings to let them score a few more runs and then call the game, as it was growing late. According to the Chicago Tribune, \"Tom Foley and Jimmy Wood, valuing victory for the club far beyond the pecuniary interest of outsiders, stubbornly refused to let up an atom and ordered the boys to go on with their 'rat-killing,' which they did most effectively.\"\nThe performance lasted three hours and twenty minutes. The White Stockings distinguished themselves by achieving the first shut-out in a game, whitewashing the Atlantic club of New Orleans with a score of 51 to 0. While there may have been earlier contests where one team failed to score, the game at New Orleans was unprecedented as it was a scheduled match between two organized teams. Shut-out games were rare in those days when the pitcher was handicapped by a straight-arm delivery and was compelled to pitch high or low as the batter demanded.\n\nAfter picking up another victory at Ottawa, Ill., the White Stockings launched on the way home and returned in triumph to Chicago, having not lost a game on the tour. True, the Southern teams they faced were weaker.\nHad they been shellacking amateur nines, not the best in the country, but what of it? In seven games, they had piled up a total of 368 runs to their opponents\u2019 43, and had made baseball history with two record games. Chicago at last had a ball club which promised to hold its own with the best in the country. Chicago's baseball fever was up to about 108 degrees, a circumstance highly pleasing to the promoters and backers of the club.\n\nTraining: Baseball managers and trainers of today who are troubled by the listless playing of their athletes might do well to study the methods of Tom Foley. Upon their arrival in Memphis to play the Bluff City club, the National Chronicle reports, \"Not all the party was feeling well, the change of water since leaving home having begun to show.\"\nIts effects in producing bowel complaints. However, a few hours' rest, a wholesome dinner, and above all, plentiful doses of brandy and Jamaica ginger, with which Tom Foley was largely provided for such emergencies, sufficed to bring about a better physical condition all around. We have all seen teams that could use a little ginger, and if it produced results like those at Memphis, it surely would be justified.\n\nChicago's desire to win national prominence was intense. There was also a strong desire to bring down the famous Forest City club of Rockford. It was humiliating to the people of Chicago that Rockford should have the better team. The Forest City's preeminence in the Northwest had led, as much as anything, to the attempt to create a first-class nine in the Windy City. As the baseball season progressed, Chicago became more determined than ever to surpass Rockford.\nThe Chicago Times reporter stated:\n\n\"The Forest City club of Rockford has been an eyesore to Chicago baseball admirers for years. Not only have the country lads pounded the existence out of all the Garden City organizations for some time past, but they also gave rattling receptions to most visiting nines from the east. At last, the lovers of the game in this city concluded to raise a club that would not only pulverize the Rockford chaps but moreover be enabled to walk off with every other club in the country, including, if necessary, the redhosed gentlemen who rendezvous at Cincinnati. It's no two to one that they have not succeeded in the entire undertaking.\"\n\nThe occasion for this victory song began: \"The Chicago nine warmed them. They warmed them well. They can do it.\"\nThe defeat occurred on June 16, 1870, with a score of 28 to 14 in favor of the Chicago team against the Forest Cibys. The game began with King of Chicago pitching against Atticus, the \"statuesque\" star pitcher of Rockford, who later became an important figure in Chicago baseball. The reporter noted:\n\n\"Atticus assumed one of his favorite attitudes and swiftly threw one to the strike. King cheerfully thumped it in the middle, and while the fielders were gathering it in, he amused himself by taking his second base. Hodes, Ward, Wood, and Cuthbert followed suit, with two or three of them chasing each other to home plate. McAtee did the same, and then 'Clipper' Flynn danced up to the ball and hit it away over into left field, bringing the two bases.\"\nThe previous strikers stared at each other and at Spaulding in dismay as he took the place of the home team. The Fox river valley delegates watched in silent amazement as the customers in blue and white seized the 'cannon-ball pitcher's' delivery. Spaulding assumed the position of a Greek slave, and Meyerle hit a third base hit. Spaulding then became a figure of Zenobia, prompting King, Pinkham, Hodes, Cuthbert, and Ward to circle the bases. McAtee was finally out, caught by a neat throw from Addy. Flynn and Meyerle scored with safe hits. Craver was nipped trying to hop around the bases.\nThe Forest Citys opened play at the bat and were retired in the prettiest one, two, three order imaginable. Hodes cut off Addy at first, Barnet being nipped in attempting to make second, by a fine throw of Craver's and Wood putting Barnes' ball first some little time before that player reached there. [Should be Rock River.]\n\nDespite this decisive victory over Rockford, and for the several other important successes, the season record of the 1870 team was not altogether successful. Although on November 2, the Chicago Evening Mail and the Chicago Evening Post voiced claims to a national championship for the White Stockings, their assertion was unfounded.\nBased on two victories over the New York Mutuals late in the year, the champion for 1870 is difficult to determine. Newspaper files are incomplete, and the National Association of that time did not concern itself with awarding championships. Games were scheduled on a go-as-you-please basis, and the mythical national title was primarily a matter of opinion, based on comparisons that could be made from the games played.\n\nAlthough the Mutuals of New York claimed the national championship in the early fall, having scored wins over some of the best professional teams, including Chicago, they were later beaten by the White Stockings. Their claim seems but little better than that of the Chicago Club. The Atlantics of Brooklyn are sometimes mentioned.\nThe 1870 champions, mentioned as such, split with the White Stockings in two games.\n\nComparison with other Teams\n\nOn September 7, 1870, the Evening Post published the following review of the White Stockings\u2019 record up to that date:\n\n\u201cTwice defeated by the Athletics of Philadelphia; twice by the Mutuals of New York; and once each by the Atlantics of Brooklyn, Haymakers of Troy, Harvards of Boston, and Forest Citys of Rockford. The Chicago team has lost no games with second-class nines they have played, except the Harvards, and have beaten the following clubs that may be called first-class: The Forest Citys of Rockford, twice; the Haymakers of Troy, once; Forest Citys of Cleveland, twice; and the Atlantics of Brooklyn, once.\u201d\n\nHowever, the above list of games is far from complete.\nThe team continued to play until about the first of November. Several important victories and defeats are not included. Among these were two games with their arch-rivals from the Middle West, the Cincinnati Red Stockings. The White Stockings were victorious at Cincinnati on September 7 (score, 10 to 6), and also at Chicago on October 13 (score, 16 to 13).\n\nThe double defeat of the Cincinnatis overshadowed everything else in the season, and alone would have made it a successful year in the minds of many fans. The first game, played at Cincinnati, rocketed baseball excitement to a new height in Chicago and throughout the Middle West.\n\nBoth teams were determined to trounce their opponents. The Cincinnatis wanted to put the baseball upstarts from Chicago in their place.\nThe White Stockings aimed to challenge Cincinnati's dominance in baseball. Unsuccessfully attempting to acquire William Arthur Cummings, New York's star pitcher and the first known to throw curves, they relied on Pinkham instead. The White Stockings' standout players, Catcher King and Shortstop Duffy, outperformed the Reds.\n\nPartisans of the Red team attributed their loss to bad umpiring, with Robert Ferguson, a Cincinnati native and umpire for the Brooklyn Atlantic club, officiating the return match. Hundreds of Cincinnatians traveled to Chicago on special trains.\nto  witness  an  expected  crushing  revenge,  and  by  game  time  Dexter \nPark  was  jammed  with  more  than  12,000  spectators.  Once  more  the \nWhite  Stockings  outbatted  and  outfielded  the  visitors  from  Ohio\u2019s \nRhineland,  with  Duffy  again  the  bright  star  for  Chicago. \nWith  his  accustomed  j apery,  the  Chicago  Times  reporter  wrote \nthe  following  lead  to  his  story: \n\u201cEnglewood,  Oct.  13,  6  p.m. \u2014 A  party  of  about  600  men \ncame  down  on  our  suburb  from  the  north  a  few  moments  ago.  They \nact  strangely  and  look  hungry.  Please  inform  Superintendent \nKennedy  of  their  Helpless  situation. \n\u201cLater. \u2014 The  invaders  have  departed  eastward  for  Cincinnati. \nSeveral  of  the  crowd  wear  white  knee-breeches  and  red  stockings. \n\u201cHyde  Park,  Oct.  13,  7  p.m. \u2014 A  straggling  band  of  roughs, \nbarefooted  and  coatless,  passed  through  this  place  a  few  moments \nago  toward  Calumet.  Their  conversation  indicated  some  great \nFinancial affliction. What's the matter?\n\nCalumet, Oct. 13, 9:30 p.m. \u2014 The people of this metropolis are greatly annoyed by the presence of an unusually large number of dangerous-looking characters who appear to have come from your city. However, they are quite harmless, but very reticent. Among themselves, expressions such as 'put-up job,' 'damned umpire,' 'dead broke,' etc., are common. One hungry chap, called 'Gris,' is discoursing on 'Indian meal' to a thoughtful squad.\n\nMichigan City, Oct. 13, 12 p.m. \u2014 What in the world is going on? Just now, a scaly-looking crowd of about 600 persons passed through here and asked the best way to Cincinnati; they said they came from Chicago. They only stopped to bathe their feet.\n\nThe White Stockings of 1870 seem to have done as much scrapping off the diamond as on it.\nThe mixture of merchant chiefs, war heroes, and sporting characters in the \"front office\" of the Club contributed to their slightly spotty record. The merged roles were too disjointed to gel properly, resulting in heated spats and officer shake-ups. Shareholders began to recognize that while professional baseball was a business, it was not the same as keeping a store or running a hotel. Like any new enterprise, it had to endure growing pains before achieving a smooth operation. The challenges, both in playing and management, were akin to a midsummer slump. After internal troubles were resolved, the team regained its winning stride and concluded the season as it had begun, with impressive victories.\n\nSome local writing fraternity members criticized.\nWriters hailed the White Stockings early in the season as baseball wonders. By early fall, the coming baseball wonders turned sour on them. In those days, it was generally believed that a team had to win practically all its games to be really good. Several sports writers attacked the club with savageness not warranted by the facts. Here is a sample from the Chicago Daily Republican:\n\n\"The champion sporting reporter has ciphered out the fact that the White Stockings have traveled 17,973 miles since they started last spring. If they had gone to the place their backers had consigned them, they would have gone to \u2014 well, how far is it to the place where the balls are red hot?\"\n\nA writer in the Lakeside Monthly pleaded for the complete rejection of professionalism. Especially bitter over Chicago\u2019s effort.\nTo make baseball a money-making business, he says:\n\n\"This [the financial and playing success of the Cincinnati club] was too much for Chicago to bear. She could not see her commercial rival on the Ohio bearing off the honors of the national game, especially when there was money to be made while beating her. So Chicago went to work. In Chicago, the first thing to do toward any achievement is to form a stock company. In Chicago, nobody builds a church, pickles a winter's stock of cucumbers, without first forming a joint stock company under the general statute. The prospects are that the season will be financially successful. If so, Chicago can lay that satisfying unction to her soul and rest content, for the Dollar question is the chief question which any subject or situation presents to Chicago. If the cash balance is\"\nThe most important baseball development in 1871 was the formation of the National Association of Professional Base Ball Players. The old National Association, weakened by professionalism, had proven itself utterly helpless in dealing with the new situation. However, the Chicago club of 1870 was not actually incorporated. It appears to have been a subscription affair; each shareholder giving a certain amount to the working capital.\n\nIrregularities of every sort had grown to the stage of anarchy. Gambling was on the increase, and ugly charges, like those published by the Chicago papers in 1867, now had too much truth in them to be ignored. Throwing games at the behest of gamblers was no longer a mere suspicion. It was a fact.\n\nAside from the gambling and hoodlumism that were taking hold.\nBaseball faced numerous issues requiring correction, with revolvers - players jumping teams being particularly problematic in the 1870s. Another issue was the lack of control over game schedules and playing conditions, complicating the award of national championships.\n\nThe Professional Association aimed to address these issues but accomplished little during its five-year existence. It focused primarily on settling the championship and made only a few minor rule changes, failing to correct the abuses threatening the national game.\n\nThe Chicago White Stockings were first incorporated in January 1871, despite Illinois statutes at the time having no provision for baseball corporations.\nThe charter was drawn up under the Act of February 24, 1859, entitled: An act for the incorporation of benevolent, educational, literary, musical, scientific, and missionary societies, including societies for mutual improvement or for the promotion of the arts.\n\nAs baseball seems to have little to do with any of the aims mentioned in the act, it soon became the subject of many jocular inquiries, such as \"Was it meant for the mutual improvement of the gamblers?\", \"Was it a benevolent society for the benefit of the stockholders and players?\" and \"Perhaps it is a missionary league to carry the gospel of base ball to more benighted communities.\"\n\nNew Dexter Park was deemed too far from the Grounds. Not all the grandiose improvements projected the year before had been made.\nThe capacity of Dexter field was never close to the estimated 30,000. The backers felt transportation expenses were a factor in reducing attendance. With Dexter field's shortcomings in mind, permission to use the lakefront land at the foot of Washington and Randolph streets was obtained from the city. Though called Lake Park, it was far from parklike, as the ground was littered with broken bottles and rubbish, requiring extensive renovation. In early March, the Chicago city council granted the use of Lake Park to the Chicago club, giving the team its first playing field in the city's heart. Despite the White Stockings' impressive late season record and better-than-average season.\nSome newspapers refused to be enthusiastic over the Chicago White Stockings in 1870. Professionals had not yet won complete support of the press. On March 29, 1871, the Illinois State Journal said:\n\n\"The base ball mania has broken out earlier than usual this season. The Chicago White Stockings, who last year were just beginning to redeem an almost ruined reputation when the season closed, have been playing the Lone Stars at New Orleans. They were victorious by a score of nine against six on the part of their opponents. This club has, doubtless, been re-organized on a thorough gambling basis, to be used like a racehorse or a bull terrier on the hands of experienced sportsmen, for the purpose of making money. The respectable public should give no countenance to the game of base ball when it is perverted to such bad ends. It is rare and healthy sport when...\"\nThe text describes an enjoyment of baseball only for pleasure and exercise among players. However, when it is degraded to the level of cockfights and scrub races, it is no longer worthy of patronage. Proper discrimination should be made by the public between gambling baseball and sporting baseball.\n\nThe greatest ninth-inning rally in baseball history took place in a game against the Olympics of Washington on May 16, 1871. The score was 7 to 0 in favor of Chicago when they came to bat in the ninth. According to Tom Foley, Captain Jimmy Wood shouted, \"We need a run from every man on the team. Let's get them!\"\n\nThe Chicagoans scored their nine runs without being retired out three times, as required in those days.\nFred Treacy drove two terrific home runs to far left field, and other players contributed timely hits. As the runs piled up, the fans went wild. In the excitement, Lotta Crabtree, the famous actress, hit a stranger over the head with a costly parasol, smashing the gentleman's silk hat and ruining her sunshade. Old-timers swear that there was never anything like it in baseball before or since.\n\nThe season of 1871 was much like that of 1870. After winning several unimportant early season games, the White Stockings slumped in June, to the distress of local scribes who still clung to the notion that a good team ought to win everything in sight. When a team called the Actives from Clinton, Iowa, defeated the Chicago White Stockings on June 27, the writers waxed Biblical. According to the Evening Mail of June 28:\nThe Actives of Clinton, Iowa defeated the White Stockings yesterday afternoon, the score standing at 8 to 5. Tell it not in Gath, publish it not in the streets of Askelon.\n\nThe Illinois State Journal:\nOur famous nine, in whom we boasted after defeating everything in the West, went East; were victorious for a while, returned with trailing banners, for rest and recuperation. We beat the Rockford Forest Citys on Saturday last; and on Tuesday \u2014 tell it not in Gath, publish it not in the streets of Askelon \u2014 were scooped 8 to 5 by a rustic club from the wilds of Iowa, called the Actives! And the country boys did the job in first-rate style, too \u2014 by hard work and superior play.\n\nThe sports reporter of the Evening Mail, who covers Games, seems to have become particularly disgusted with the White Stockings again. He charged their efforts.\nOn July 1, he stated, \"According to previous arrangement, the Chicago baseball club was beaten again \u2013 the Olympics of Washington making it 13 to their 8. The horse-racing program was as follows: These two clubs were to play each other for 'the best three in five games.' The Olympics had beaten once and the Chicagoes twice. If the latter had made yesterday's game, they would have won the best three out of five, and the two clubs could have played together no more this season. So, to secure the gate money of another game, it was agreed that yesterday's contest should result in a tie, and thus another game was necessary. It is astonishing that young men will still be found so confiding as to bet on the result of a game between professional ball-players when it is already decided by the arrangement.\"\nManagers, and the White Stockings' last defeat was no more a test of skill than a horse race previously 'sold' by the jockeys. Elsewhere, the same paper stated: \"A morning sporting paper claims the cause of the White Stockings' ignominious defeat was 'weak batting' just so - superinduced by heavy betting.\" This reporter of the Mail certainly looked at the Pitchers game with tongue-in-cheek, for he was scornful of the growing art of baseball writing. In the issue of August 22, he states: \"It is horrible to relate, but a morning paper report of a baseball game assures us that Atwater pitched well enough for five or six innings, but after that he 'went to pieces.' His awful fate should warn all other pitchers of what fragile clay they are made of.\" Further on, he says: \"It takes a column in the papers to tell why the Chicago White Sox lost.\"\nThe Washington Olympics lost to the Chicago White Stockings, who had failed to make a sufficient number of runs by October 1. Despite this, the White Stockings were considered one of the country's stronger baseball teams and had an outside chance to win the championship. The Chicago Republican reported on October 1:\n\n\"Today, the Boston and Chicago clubs will play the fourth game of their series on the Lake front Park grounds. The Chicagos have won two games and the Bostons one, and the White Stockings are the favorites at very short odds. Regarding the relative positions of the two clubs, the Chicagos have won twenty games and lost nine, the Bostons twenty and lost ten; the Chicagos have won four series from the Olympics, Mutuals, Eckfords, and Rockfords, and the Bostons four, from the Athletics, Olympics, Clevelands, and Rock-\"\nThe crowds have been selling rapidly, estimating the crowd today between 12,000 and 15,000. Few pools were sold last evening for the great game this afternoon. The Bostonians carried off the odds in betting circles. Despite their success in disposing of the Bostonians, the White Stockings later lost to the Philadelphia Athletics in the deciding series of the year, and the championship went to Philadelphia. In the meantime, baseball in Chicago had been brought to an abrupt end. The last home game was played on October 7, 1871, with a local amateur team. On the evening of October 8, a fire started in O\u2019Leary barn at the rear of 137 DeKoven street, which was to make even more history than the fiery baseball war of 1871.\n\nHowever, the Chicago fire had no immediate effect on baseball.\nIn 1871, the season was nearly over, and the locals played out their eastern tour, finishing the year with a surplus in the treasury. Adrian C. Anson, in his autobiography, A Ball Player's Career, gives the impression that the members of the Chicago team were left stranded and destitute by the fire. However, as Captain Jimmy Wood was voted a bonus of $500 on November 20, and since the season was virtually over, it is hard to see how the fire could have affected the players, except through possible loss of their personal belongings. At the meeting of November 20, \"the Chicago Base Ball club was declared to be extinct,\" indicating that no plans were made for the following year.\n\nAnson is also an authority for the statement that the Chicago club of 1872 dropped out of existence in 1872 and 1873. But, as Anson was playing in the East at that time.\nThose years, he was not in close touch with Chicago baseball affairs. The Chicago club was not entered in the Professional Association race in either year, but it did exist as a semi-professional organization, with Tom Foley still at the helm, and several of the former players on the team. This semi-professional club found the going tough. Chicago people, busy rebuilding the city, had little time for baseball games. Professional teams, hippodroming around the country, skimmed the cream of exhibition-game attendance. The Chicago teams of 1872 and 1873 were no better drawing cards than such old, well-established amateur nines as the Actives and the Libertys.\n\nSeasons in 1874, a rejuvenated White Stocking team re-entered the National Association. It was a fair team in 1874 and 1875, but the best of the Midwestern players had joined other teams.\nThe Eastern clubs had men of championship caliber unavailable, and the White Stockings' record for the year was mediocre, arousing little interest among local fans. Boston won the National Association pennant for the third consecutive time. The season of 1875 was no better; Boston took its fourth pennant, and Chicago was an also-ran. However, local fans were encouraged before the close of the season by an announcement that Chicago was to have a brand-new ball club, made up of some of the greatest National Association stars. On July 20, the Chicago Tribune stated that White Stockings officials had obtained contracts with the following players: pitcher Spalding from Boston; catcher White from Boston; first base, Devlin, from Chicago; second base, [unknown name].\nBase: Barnes (Boston), Sutton (Philadelphia), Peters (Chicago), Glenn (Chicago), Hines (Chicago), McVey (Boston), O\u2019Rourke (Boston), Golden, Warren (Chicago\n\nThe team did not have all players announced in the Tribune list, but it was gratifying news for loyal fans who wanted Chicago to be a strong contender again. Who and what were behind this startling announcement? The forceful personality of baseball enthusiast William A. Hulbert.\n\nWilliam A. Hulbert, hailed by Chadwick and other writers as the man who saved baseball, was one of the greatest personalities in old-time baseball. Never a professional ball player himself, he was devoted to the game. Chicago was to have a baseball team.\nBall club equal to any in the country. Hulbert was disgusted with baseball conditions in the early 1870s. Player-snatching and contract-jumping had become popular pastimes of managers and players. It was considered too great a hazard to back a ball club financially, in view of the difficulties of holding a good team together once it was organized. Gamblers had muscled into the sport, and the fixing of games was an open scandal.\n\nWhen offered the presidency of the Chicago club in 1875, Hulbert decided to see what could be done to put the game back on the right track. While considering the offer, he met A.G. Spalding, then playing on the Boston team. Although Spalding's team had won the pennant three successive years and could not complain about game-throwing, Spalding felt, like Hulbert, that the time was ripe.\nFor more stringent governing rules. With Spalding\u2019s assistance, Hulbert signed up Barnes, McVey, and White of the Boston club, and Anson and Sutton of the Philadelphia Athletics. These, along with Spalding, formed the nucleus of a powerful team, to which it was planned to add outstanding members of the Chicago club of 1875 \u2014 Hines, Glenn, and Peters.\n\nNational Feeling that something more than a good team was necessary to protect his interests, Hulbert arranged a secret meeting at Louisville with managers from St. Louis, Cincinnati, and Louisville. At this meeting, he first disclosed his plan to organize a National League of Professional Baseball clubs, under rules which would protect both the players and the club management.\n\nAt a later meeting on February 2, 1876, attended by managers of leading Eastern clubs, Hulbert dramatically locked the door.\nThe session began. According to Spalding's history of baseball, Hulbert then announced, \"Gentlemen you have no cause for uneasiness. I have locked the door simply to prevent intrusion from without, and incidentally to make it impossible for any of you to go out until I have finished what I have to say to you.\"\n\nWhat he had to say seemed to be plenty. He told the assembled officials that the abuses of the game needed to be corrected if professional baseball was to survive. He criticized the National Association for its failure to remedy the situation and concluded by producing the constitution for the new league.\n\n\"Hulbert completely dominated the situation,\" Spalding noted, \"Although some of these men were personally guilty of the corruptions of which he spoke, at the end of the interview they were docile.\"\nHulbert, recognized as a power, had a dominating influence felt for years. He made League Hartford's first president, afterwards Connecticut's governor, Morgan G. Bulkeley, but succeeded him before the year was up and continued as president until his death on April 10, 1882. During these critical formative years, Hulbert's strong hand kept baseball on the road he had outlined and made itself felt when evil conditions had to be dealt with. In 1877, four members of the Louisville club were expelled from organized baseball for throwing games, and no similar action was necessary in big-league baseball for forty-four years. Hulbert, a large man with a forceful, magnetic personality, was described as the good-fellow type by those who knew him.\nThe stern and dominating Chicago businessman, Albert Spalding, became the great baseball leader in his off hours. In the first National League season, Chicago won the pennant. Hulbert's endeavors were crowned with victory. The team that carried off the prize entered the new league with the following players: A.G. Spalding, pitcher, captain, and manager; James L. White, catcher; A.C. Anson, third base; Ross Barnes, second base; Cal A. McVey, first base; J.P. Peters, shortstop; J.W. Glenn, left field; Paul A. Hines, center field; Robert Addy, right field; J.F. Cone, Olcar Bielaski, and F.H. Andrus, substitutes. The new spirit of baseball created in Chicago by this team is shown by a story in the Chicago Evening Journal on September 26.\n1876: The Journal's previous lukewarm attitude towards Chicago baseball had this to say:\n\nFor several years, the management of the Chicago Base Ball Association had been working hard to secure the pennant, and to achieve this, they annually engaged players whom they believed could take the championship from the Boston team. By the end of the 1875 baseball season, it was officially announced that Barnes, Spaulding, McVey, and White, along with Anson of the Athletics, would play in Chicago for the 1876 season. The baseball community is aware of how well they have performed. They have won the coveted flag, and Chicago is happy.\n\nEvery man on the club has shown himself to be a gentleman.\nAs a ball player, they have never been under suspicion. They have made friends within and outside the profession, and are a credit to their city of adoption. Yesterday's game with Hartford may or may not have settled the championship for Chicago. The game was an interesting one from start to finish, with the Chicagos taking the lead in the first three innings. However, matters turned, and the blue-hosed gentlemen went to the front. In the sixth inning, Anson stepped up to the plate and hit a long fly to center field for three bases, causing great excitement. The boys all got to work and earned six runs. There were no more runs until the ninth inning, when the Hartfords scored four runs due to good batting and errors by White.\nThe features of the game were the fine pitching of McVey, the batting of Anson and Hines, and the work done by little Pete at short field. Final score: Chicago 7, Hartford 6. Gratifying as it was to win the pennant, Chicago gained something more from the White Stockings of 1876. The new club brought to this city Spalding and Anson, whose personalities and leadership were to dominate nearly a quarter-century of Chicago baseball, and to leave an indelible stamp on the history of the game.\n\nWith the formation of the National League and the new Chicago White Stockings, a figure entered Chicago baseball who was to be its leader for nearly a quarter of a century: Albert G. Spalding.\n\nSpalding was well known to Chicago fans before coming here as captain and manager of the re-organized White Stockings. As the team's president and part owner, he would continue to shape Chicago baseball for years to come.\nStar pitcher of the old Rockford club, his \"statuesque\" delivery had won him both cheers and jeers of the local devotees. Again, as pitcher for the old Boston club, he was often on the mound against Chicago. But the most important part of his career belongs to Chicago alone.\n\nPlayer, manager, club owner, and sporting goods tycoon, Spalding had a personal history unmatched in baseball. He not only served in every department of the game but also did much to make professional baseball a success.\n\nSpalding \u2013 Like so many other great figures of baseball, a product of old Chicago, Spalding was a product of the prairies. He was born September 2, 1850, in the little village of Byron, in northern Illinois. He was only fifteen years old when he joined the Forest City club of Rockford, and was not yet seventeen when he participated in the\nOnly handied the Washington Nationals in their western tour of 1867. He is entitled to a place as one of the boy wonders of the mound, although his chief fame does not come from his pitching record.\n\nAs a pitcher with a good straight arm fast ball, Spalding was above the average of his day. In 1908, Henry Chadwick ranked him as the greatest pitcher up to that time. This rating is certainly debatable, however, as William Arthur Cummings, Amos Rusie, Cy Young, and the peerless Mathewson all belonged to the same period.\n\nTo say that Spalding outranked any or all of these is going too far. Spalding, along with William A. Hulbert, influenced not only the organization of the National League but also strove to put professional baseball on a sound business basis. These two men\nA.G. Spalding realized that the game of baseball could not survive if it remained in the hands of gamblers. Their activities prospered and endured, making possible a clean, wholesome sport with no direct gambling connections.\n\nAs a manufacturer and purveyor of baseball equipment, Spalding and his business associates helped to standardize the game by making it possible for all baseball teams to use the same kind of playing equipment.\n\nWhen he came to Chicago in 1876, Spalding, along with his brother, James Walter Spalding, became notable in the sporting goods business, in addition to his baseball activity. In 1878, he gave up his managerial and playing duties with the White Stockings to devote more time to the firm. He retained an interest in the club, however, and in 1882 became its president, succeeding Hulbert. He continued as president.\nUntil 1891, and thereafter, A.G. Spalding was the principal stockholder for some time. Under Spalding\u2019s direction, with the assistance of his brother and a brother-in-law, William T. Brown, the firm of A.G. Spalding & Bros became one of the greatest concerns in the world making and toying with baseball equipment.\n\nAetna Nine of 1869\nChampion amateur team the Northwes:\nAetna Nine of 1869. Strong team of the early days.\nJimmy Wood, First captain of the Chicago White Stockings.\nTom Foley, Manager of Chicago\u2019s first professional team.\nWilliam A. Hulbert, Founder of National League.\nA.G. Spalding, Manager and Captain of Chicago\u2019s first National League team, pennant winners of 1876.\nAnson\u2019s Pennant Win\nBilly Sunday is at extreme right of first row.\nChicago White Stockings National League club to win pennant three times in a row.\nAdrian C. Anson, Chicago's Baseball Immortal.\nWhite Stockings of 1882. From left to right, top row: E.N. Williamson, 3b.; M.J. Kelly, rf.; Frank S. Flint, c.; Thomas Burns, ss.; A.C. Anson, Capt. and lb.; A. Dalrymple, If.; George F. Gore, cf. Bottom row: Hugh Nicol, rf.; L. Corcoran, p.\n\nAnson, Adrian Constantine Anson, famously known as Chicago\u2019s \u201cPop\u201d to players and fans alike, was the baseball hero of Chicago from 1876, when he joined the immortal champion White Stockings, until 1897. No other man, with the exceptions of John McGraw and Connie Mack, had such a long and notable career as player and manager. His managerial record is not quite as impressive as McGraw\u2019s or Mack\u2019s, but he was certainly the greatest of his day.\nAnd topped baseball's hall of fame in the first poll of old-timers. There is no question that Anson was one of the greatest playing stars of all time, and can rightly be called the most brilliant first-baseman of the old era. He was not only a fine mechanical player, but a heady one, and devised many tricks of infield play that are still in use.\n\nPerhaps what hurt his record as a manager in the last eleven years with the White Stockings was his persistence in playing long after most men would have retired to the bench. He played up to the very end, and only at the last did he ease up by alternating with another player at first base. It is true that he did not have good material in all of those later years, but he might have done more in the development of his colts, as he called them, if he had stood on the sidelines.\nAnson believed managers should be on the field, actively directing play. In the early 1890s, Anson faced criticism from Chicago sports writers for continuing to play \"Whiskers.\" The constant use of the term \"old man\" irritated him, so he decided to retaliate through ridicule. One day, as the team was dressing, Anson opened a bundle containing a white wig and a false set of long white whiskers. Fred Pfeffer, a long-standing veteran, asked, \"For God's sake, what's that for?\" Anson replied, \"Never mind. Wait and see.\" The old hero, who was not truly old, put on the wig and beard and took the field. The crowd was struck dumb by his long white locks and whiskers floating about his head.\nAnson shouldered the entire game with his usual effortless skill, turning the guns of ridicule upon his detractors. Anson, known as Pop Anson, led National League batters four times: in 1879 with an average of .407; in 1881, second or third in several other years, and only twice in his twenty-two seasons in the National League did he finish with a percentage below .300. Dan Brouthers, who led the National League four times and the old American Association once, was the only hitter before 1900 to challenge his record.\n\nStrictly speaking, Anson was not a slugger. He did not try to kill the ball or knock it out of the lot every time he swung. Instead, he was the Willie Keeler type. However, years were to elapse after Anson's heyday before Keeler came along with his famous principle of \"hitting 'em where they ain't.\"\nAn another Anson was born in 1852, in Marshalltown, a community in central Iowa founded by his father. His first baseball experience was with the Marshalltown team, a nine which his father helped to organize and on which the elder Anson played, advanced years then being considered no great handicap to a ball player. Young Anson was not a regular member of the team until 1870, when he starred in a game played with the Rockford Forest Citys at Marshalltown. In this game Anson\u2019s father and his brother, Sturgis Anson also played. Although they gave the Forest Citys a good run for their money, they lost by a score of 18 to 3, which was considered quite an accomplishment against one of the strongest teams in the country. Anson\u2019s playing was so impressive that it won him a place on the team.\nThe Rockford team faced another game the following year. According to his own statement, the salary was $66 a month. A second game was arranged for the following day as the Forest Citys were displeased by this performance against a team of green amateurs. They also wanted to recoup as there had been heavy betting that they would defeat Marshalltown by a much wider margin. The second game ended more satisfactorily for the Forest Citys, as they took the long end of a 35 to 5 score.\n\nFans of today who discuss the respective merits of American League and National League baseball may be surprised to know that in 1870, fans were already arguing just as learnedly on the same subject, debating whether hitting ought to be helped by using a dead ball instead.\nIn fact, in one Marshalltown-Forest City game, Anson's father, disgusted by the outcome, alleged that the latter team had cheated in the matter of the ball. They agreed to furnish it (only one was provided in those days), and the elder Anson accused them of using a lively \"Bounding Rock\" ball, skinning it, and then sewing it up again in the cover of a \"Ryan\" dead ball.\n\nAnson served only one year in Rockford (1871). The Rockford club backers decided that they could no longer afford the increasing salaries. Accordingly, the team was disbanded, and Anson, as a free agent, was signed by the Philadelphia Athletics. He played four years there, with constantly growing success.\nRecord Cap Anson, also known as Pop Anson, was a top-notch player known for his skills as a top-notch fielder and dangerous hitter. However, his development as a star was hindered by being shifted from one position to another from 1871 to 1878. He served variously at third base, shortstop, right field, and left field. It was not until 1879, when he became manager of the Chicago club, that he began to play the position at which he grew most famous, first base.\n\nAnson led the Chicago team to five National League pennants, tying him with Frank G. Selee of Boston and later Chicago, for the greatest number of pennants won by a manager before 1900. The White Stockings, under his direction, took three straight championships from 1875 to 1877. In the years following, Anson's team did not particularly distinguish itself, finishing second.\nFrom 1880 to 1891, the Chicago club never finished lower than fourth place, was on the top five times, and second five times. Anson's record indelibly places him among great managers in baseball. However, Anson did not step aside at the height of his fame with plaudits ringing in his ears. Instead, the disastrous seasons from 1892 to 1897 were evidence, in the opinion of many, that he had seen his best days as a manager, despite his batting average still being above .300 and his fielding nearly as good as ever. But Anson refused to quit. His last years were shadowed by difficulty.\nAnson accused Spalding of attempting to undermine his influence with the players, and James A. Hart's enmity, who succeeded Spalding as club president, contributed to Anson's ousting at the end of the 1897 season. It's possible that Spalding, believing Anson's usefulness had ended, tried to ease the pain of his retirement by inducing him to resign. However, Anson refused. As a stockholder in the club, he couldn't bear to give up all active association with the team. In an attempt to gain control, he received from Spalding a curious document purporting to be an option to buy the club for $150,000. Anson felt that this option was not genuine.\nIn good faith, but he could not have raised the money to take it up. The end came with his abrupt dismissal from the managership in early 1898. Anson's fame will always be the touchstone by which the success of Chicago baseball managers is judged. During his twenty-two-year service, baseball in Chicago was Pop Anson, and Pop Anson was Chicago baseball. No Chicago manager since his time has finished the season at the top or nearly there so many times. He was temperate in his habits in a day when drinking, hard-living ball players were the rule rather than the exception. Honest beyond reproach, he was scrupulously fair, and no ball player was ever known to complain of the way he was handled by Anson. His contribution to the national game at a time when it was trying to shed its unsavory reputation was immense.\nThe disgrace of its early years is a monument to decent and honest sportsmanship. After leaving baseball, Anson operated a billiard hall in Chicago. Although he took a lively interest in baseball, he was never again actively connected with it. He died April 14, 1922, and the following year the National League erected a monument to him in Oakwood cemetery, Chicago.\n\nThree of the same club that won the pennant in 1876, the White Stockings failed to repeat in 1877. The championship went to Boston. Louisville looked like a sure winner until the close of the season, when the Kentuckians lost enough games to the Beaneaters to make the latter the winners. As a result of charges that these games were thrown, four Louisville players were expelled from organized baseball.\n\nThe 1878 season saw many changes in the Chicago club, with new players and management.\nAnson was the only player left from the 1876 team. Spalding had resigned to devote his time to business, and new manager Robert Ferguson couldn't drive his second-rate players higher than fourth place in a six-club race. In 1879, Anson became manager, and the team, strengthened by stars obtained from the defunct Indianapolis and Milwaukee clubs, again missed the flag. The Chicago Base Ball Club delighted in drinking moxie mead at Gunther\u2019s, as advertised in the Evening Journal on April 30, 1877. The sun shone again for Chicago fans in 1880.\nThe National League flag was taken in Chicago for the second time by a strong team, piloted ability by Anson. Larry Corcoran and Fred Goldsmith, pitchers, and Mike Kelly and Frank Flint, catchers, eliminated the battery weaknesses of the lean years. Ed Williamson, Tommy Burns, Abner Dalrymple, and George Gore added their strength at the bat and in the field to make up a winning combination.\n\nThe same crew repeated in 1881 and 1882, becoming the first National League club to win the pennant three times in a row. Anson credits the winning of three straight championships to the superb teamwork of the White Stockings in those years. Anson's field generalship, then at the height of its power, is also deserving of praise.\n\nFourteen innings were played in the longest game on the Chicago grounds.\nThe White Stockings had achieved a memorable victory over the Troy club on July 4, 1882, up until that point. The game lasted fourteen innings, with Chicago holding a 9 to 5 lead. The locals scored one run each in the first and second innings. Troy tied the score in their half of the second (they batted last, as was the custom for visiting teams then). The White Stockings scored again in the sixth, and Troy tied it up in the eighth. Both teams went scoreless until the eleventh. In that inning, Dalrymple of Chicago started with a single. He was followed by Gore, who hit a three-base hit into the crowd behind center field, scoring Dalrymple. Troy's center fielder, Conner, retrieved the ball but held it too long, allowing Gore to come home on the error.\nAt this point, many Chicago fans, satisfied that these two runs would win, began to leave the park. But the police, refusing to underestimate the Troy club, managed to keep most of them in their places. The judgment of the police was vindicated. In the second half of the inning, Keefe and Harbige of the Troy team both hit two-baggers, Keefe scoring. Harbige came home from second on a long fly, tying the score. For two more innings, Troy held off the White Stockings' attack. The big fourteenth inning was described by a reporter for the Chicago Times as follows:\n\nWilliamson took his base on balls and stole second. Burns made a triple, Williamson coming in. Corcoran went out at first. Flint made a two-base hit and Burns came in. Flint following on a passed ball; Nicol was hit by a wild pitch; Dalrymple took first on a passed ball.\nThe lead was too much for the visitors, and they failed to do anything, though Connor got a hit and stole second, being left on as the next three pitched in rotation.\n\nScore by innings:\nChicago 110\nOne-Armed Flinger Drubs Chicago\n\nIn the fans\u2019 opinion, some pitchers, past and present, could do about as well without any arms. Yet on at least one occasion, a pitcher with only one arm humbled the proud White Stockings. He was \"One-Arm\" Dailey, who pitched for the Buffalo club in the early 1880s, and, despite his disability, he pitched and fielded as well as most slabmen of his time.\n\nCharles Ebert, known as Dot Ebert in his own days as a semi-professional player,...\nA professional ball player and employee of Cook County Court in Chicago witnessed Dailey's triumph from a tree outside the ball park. At the time, Ebert was a small boy who managed to evade the police, trying to discourage Chicago youths from seeing games without paying, and clung Tarzan-like to his perch throughout the contest.\n\nEbert testifies to Dailey's fine form on that July day in 1882. He allowed only five hits and four runs. Remarkably, he hit a two-bagger in the ninth and scored the winning run. The final score was Buffalo, 5; Chicago, 4.\n\nA story is told about one of Anson's colts, a young pitcher named Sullivan, who had broken into the Old Days league with the Washington team. In his first trip with the Senators, Sullivan was the victim of a ribbing.\nHank O\u2019Day, the veteran umpire who was also a player, ribbed Sullivan. Sullivan had been assigned a lower berth on the train. Unused to Pullman travel, he was puzzled by the little hammock near the window and asked what it was for. With a perfectly serious face, O\u2019Day replied, \"That is a pitcher's berth. The man who is pitching the following day always gets that berth. The Pullman company provides that hammock for the pitcher to rest his arm in.\" He then showed Sullivan how to use it and left the rookie with his arm swung high above his head.\n\nThe next morning, Sullivan's arm and shoulder were so stiff and lame that he was unable to pitch. This gag has often been repeated with other rookie pitchers as the victims.\n\nIn 1882, the National League attempted to add color to the game by prescribing that each player was to be outfitted with >\nA shirt and cap of a certain color indicated the position played: catcher, scarlet; pitcher, light blue; first base, scarlet and white; second base, orange and black; third base, gray and white; shortstop, maroon; right field, gray; center field, red and black; left field, white; substitutes, green or brown. The idea met with no favor and was discarded after a year's trial.\n\nFans Go Wild\nNo longer indifferent to the fortunes of Chicago over Team ball players, the newspapers in 1880 joined the fresh upsurge of local pride. Here is what the Chicago Times had to say of that year's final game:\n\n\"AFTER THE BALL\nThe Bunged-Up White Stockings End the Year with a Victory Over the Buffalos\nAnd Win the Pennant by the Largest Majority Known Unto the National League\"\nThe Chicago team played its eighty-fourth and last game of the season against Buffalo and won, despite the crippled condition of the home nine. The season's standings are: victories, sixty-seven; defeats, seventeen. This is the largest number of victories in a season since the league's organization in 1876, when Chicago won with fifty-two victories and fourteen defeats.\n\nDue to the injured conditions of Corcoran and Goldsmith, Chicago secured the services of Charles Guth, pitcher of Lake Views, and an amateur of more than ordinary skill, for the game. He has variations in pace, out and in curves, etc., perfectly at command, as evident in the first seven innings.\nThe Buffalos made only two hits off him, and seven struck out. Chicago won, 10 to 8. At the end of the story is an announcement that in the next game, an exhibition contest, the team would experiment with an invention of Harry Wright, a square bat.\n\nTwo more: It is hard to get on top, and harder still to stay. Years of failure finished second in 1883 and fourth in 1884. The players' list retained the best of the outfit that was three-time winner, with some notable additions. John Clarkson, a brilliant pitcher, joined the club in 1884, and the previous year, the White Stockings had acquired a young outfielder who was to win fame on the diamond and much more fame off it. His name was William A. Sunday. Discovered by Anson in Marshalltown,\nIowa, Billy Sunday developed into a daring baserunner and a capable outfielder, but he was always a weak batter.\n\nTinker to Evers to Chance;\nBy Franklin P. Adams\n\nThese are the saddest of possible words:\nTinker to Evers to Chance.\n\nThree of beartraps and fleeter than birds,\nTinker to Evers to Chance.\n\nThoughtlessly pricking our gonfalon bubble,\nMaking a Giant hit into a double,\nWords that are weighty with nothing but trouble,\nTinker to Evers to Chance.\n\nNew York World, 1908\nFranklin P. Adams, of \u201cThe Conning Tower\u201d fame, was one of the most famous New York columnists in the days when Frank Chance, the \u201cPeerless Leader\u201d of the Chicago Cubs, was holding down first base and inspiring his team to pennant after pennant, both in National League and world championships.\nJoe Tinker, shortstop, and Johnny Evers, second baseman, formed the other members of this infield wrecking crew, which so often broke up rallies of opposing teams with their lightning fast double plays. Although Joe Tinker and Johnny Evers belong to the period since 1900, Frank Chance joined the Chicago club as a catcher in 1898, and thereby qualifies as one of the old-timers. This verse helped to make \u201cTinker to Evers to Chance\u201d synonymous with fast and accurate team work, and it is here reprinted as a tribute to the Chicago baseball leader who carried on the tradition of Pop Anson\u2019s best days.\n\nChampions\n\nWith due regard for such mighty teams as the 1885 Cubs under Frank Chance, the Giants under Cap Anson and 1886, and, of late years, the slugging Yankees,\nThe White Stockings of 1885 and 1886 were one of the best collections of ball players to ever win a championship. Their \"stone-wall infield\" was the terror of opposing batters. Tom Burns at third base; Ed Williamson, at short; Fred Pfeifer, at second; and A.C. Anson, himself, at first base, made up this redoubtable quartet. They gobbled up grounders and speared line drives with almost superhuman accuracy.\n\nIn the outfield, they had Abner Dalrymple, a real slugger; George Gore, another heavy hitter; and Billy Sunday, whose speed on the bases made up for his light hitting. They were all first-rate fielders and cool-headed ball players, particularly when the chips were down.\n\nClarkson and Kelly, written large among the names of famous battery mates, are those of Clarkson and Kelly of the champion White Stockings. John Clarkson was a clever pitcher.\npitcher with a puzzling drop and a fast overhand delivery. Mike Kelly, on the receiving end of Clarkson's pitches, was the most famous player of his day. A fine catcher, unusually good at throwing men out on the bases, he also starred as an outfielders. Kelly's other battery mate was James McCormick, who was also a great pitcher.\n\nClarkson and Kelly were also distinguished by the high money value set on them. Kelly, after leaving the Chicago club, was referred to as the \"$10,000 beauty,\" because he was sold to Boston for that amount in 1887, the highest price received for a ball player up to that time. Clarkson followed him to Boston the next year, with the same $10,000 price tag attached. From this, it will be seen that the 1880 market for baseball \"ivory\" was not high. It is a long stretch from Clarkson at $10,000 to Dizzy Dean at $185,000.\nMike Kelly, also known as King Kelly, is said to have inspired \"Casey at the Bat\" with his $10,000 signing. His personality and exploits were as legendary as Casey's. Enough stories are told about him to fill a book. Quick-witted, big-hearted, and happy-go-lucky, his Irish temperament made him a favorite, even when his humor turned boastful. After his sale to Boston, he would yell to the crowd, \"I'm a beaut \u2013 you can bank on that. A regular ten-thousand dollar beauty. I come high, but they have to have me.\"\n\nKelly's tricks were often resourceful, if not honest. While playing in the outfield for the White Stockings in an extra-inning game at Boston, darkness threatened to halt the contest. Chicago went ahead by one run in their half of the twelfth inning, but in their half, the Easterners managed to fill the bases with two outs.\nIt was growing very dark. In this crucial spot, the Boston batter hit a long, hard drive out in Kelly's direction. Mike could not see the ball at all, but realized that the umpire was probably in the same fix. He ran back, posed alertly, waited a moment, leaped into the air with a wild whoop, and pantomimed a catch. He then ran for the clubhouse as if the game were over, and the umpire, completely fooled, yelled, \"Out.\"\n\nOn another occasion, Kelly and Ed Williamson conspired to manufacture a run out of nothing. In a game with the Detroit club, the score stood at 2 to 2 in the ninth inning. When Chicago came to bat, Kelly got on first base, and Williamson drew a walk, sending Kelly to second. The pair then pulled off a neat double-steal. But as Kelly slid into third, he howled with pain and asked for time.\nWilliamson came over to see what was the matter. \"Ed,\" Kelly wailed, \"it's my arm. I think it's out of joint. Pull it for me, will you?\"\n\nAs Williamson leaned over to pull his arm, Kelly whispered hurriedly, \"Say, Ed, as soon as Weidman [the pitcher] raises his arm, I'm going to make a break for home, and you sneak along behind me. They'll play for me, sure, and forget about you; but when I'm close, I'll straddle my legs, and you slide under.\"\n\nWhen Kelly dashed for the home plate, the Detroit pitcher was so astonished he almost forgot to throw the ball. Williamson, who as he afterwards confessed had cut third base by fifteen feet, came tearing in behind. The Detroit catcher had the ball and was waiting for Kelly. Mike stood still, with legs spread, and Williamson slid under, touching the plate without being tagged by the surprised catcher.\nSports suffered a relapse in the 1880s. Writing exuberance of previous years gave way to a sober style. Reports of games consisted of a stereotyped summary in a few hundred words, followed by a box score similar to those used today. On rare occasions, some anonymous reporter cut loose with a bit of vivid writing, such as was to enliven the sports pages in the twentieth century. On July 7, 1885, the Chicago Tribune had this to say of a game with New York:\n\nO'Rourke was the first man at bat and went out from third to first. Connor followed him with two men out. He made a base hit, stole second, and got to third on a passed ball by Flint. Gillespie had meantime come to bat, and after three balls had been called, sent the ball over Burns' head to left field. Gore had run up from third.\nDalrymple failed to back up Gore as he reached for the ball, and it went bounding toward the carriages. Dalrymple eventually secured it and threw to Pfeffer at second. Pfeffer made a wild pass at the ball as it flew by his ear, and before Anson could capture it, Ward and Gillespie had crossed the home plate amidst the plaudits of the spectators. Esterbrook followed with a base hit, and Dorgan's safe hit advanced the 'dude' to second. The latter then stole third, and Deasley hit a grounder to Pfeffer. It got up Pfeffer's sleeve before he could get it down, and Deasley had reached first before Esterbrook and Dorgan crossed the home plate. The Chicagos closed the inning by flying out in one, two, three order.\nThe game was given to the visitors in the last inning despite brilliant fielding by Burns, Ward, Dorgan, and Dalrymple. Burns and Ward made running catches of hits by Esterbrook and Clarkson respectively, earning them hearty applause. Dorgan made a great catch of Pfeffer's fly in right field, as did Dalrymple of Connor's high fly to left.\n\nDespite the picturesque description, a practiced eye can detect at least three factual mistakes. The age of specialism in sports writing had not yet arrived. Of particular interest is the writer's use of the term \"sky-scraper\" to denote a high fly. This was some years before the first skyscraper building was erected and the term had not yet taken on its present meaning.\n\nA column of sport comment occasionally dealt with this.\nPlayers should lift their caps when they receive hearty applause. It is a graceful acknowledgment of the compliment. In another instance, the commentator admonished players not to act like schoolboys when the umpire rendered a decision against them, but to receive the arbiter's rulings in soldierly obedience. Despite their preoccupation with ethics, sports writers had already learned the trick of passing sharp remarks on players. Shortly after Chicago acquired Pitcher McCormick, the Tribune printed comments from other newspapers, adding its own: \"The Providence Star says that Chicago paid Providence $2600 for McCormick's release. The Star types are very careless about making outs in figures. We violate no confidence when we say $2600 was the amount paid.\"\nDuring the 1880s, when the White Stockings were regularly defeating their opponents, A.G. Spalding was concerned that most of his club members were addicted to the extra-curricular sport of drinking off the diamond. He lectured the players on their bibulous habits, but they dismissed his concerns with remarks like, \"Do you expect us to win everything?\" and \"Show us the team we can't beat.\" (The Plain Dealer: \"What was the price paid for the goods? - Not so fast, our young friend, $800 is the sum the Chicagos gave for McCormick, and he is worth it.\" - Enquirer: \"Venerable but ever verdant chump, we must differ from you. McCormick isn\u2019t worth $2.60 if his failings go with his beauties.\") Spalding, in his book on baseball, recounts this story.\nAmerica's National Game, American Sports Publishing Co., New York, 1911.\n\nFinally, Spalding hired a Pinkerton detective to trail the men and see exactly what they were doing. The sleuth took the players one by one and followed them everywhere, up and down Clark street, out of one saloon and into another, into barrelhouses and joints of every description. At last, Spalding had a detailed report of every player\u2019s movement.\n\nKelly called the men into his office and read the reports aloud. As was expected, Anson and Billy Sunday, \"Foul!,\" were given a clean bill, but nearly all the rest had black records.\n\nMike Kelly, as usual, had a word to put in. The \u201cKing\u201d raised his voice in the dead silence which followed the reading:\n\n\u201cI want to amend the record. It says there that I was seen drinking a lemonade at 3 A.M. It was a straight whiskey. I never drink a lemonade.\u201d\nThe players decided to pay the detective's bill for their punishment as they were about to leave for a series of games at Detroit. The train was ready to start. A large, green-eyed man stood on the platform, staring with wide-mouthed interest at the departing players. Kelly spotted him and whispered something to McCormick. McCormick stepped up to the countryman and, after denouncing him as a Pinkerton detective in violent terms, punched him with all his might. McCormick then kicked the bewildered \"Rube's\" pants up to his shoulders. The bell rang, and the belligerent ball players quickly boarded the train.\nFlint - nicknamed \"Old Silver\" by his teammates - had a record-breaking thirteen-year baseball career, primarily with the White Stockings. He caught 935 games and was known for his durability, rivaling that of Ray Schalk and Gabby Hartnett. Flint played without a mask or chest protector throughout most of his career. Upon retirement, he noted that every joint in each of his fingers had been broken at least once, his nose frequently, and his teeth smashed.\n\nDespite being overshadowed by the more spectacular and colorful Mike Kelly, the records show that Flint was undeniably the better catcher of the two. The losses of Kelly in 1887 and Clarkson in 1888.\nThe Chicago team, despite being viewed as a death blow to their championship aspirations in 1887 and 1888, still had good players. Anson's team finished third in 1887, just behind Detroit and Philadelphia. In 1888, they were narrowly edged out of first place by New York. These seasons were financially successful for the club and other league members. Attendance figures were high, and fans were passionate in their enthusiasm. However, this financial success of the club owners caused discontent among the players, many of whom felt their earnings were too small a share of the returns, and murmurs of revolt were beginning to surface.\n\nFrom 1887 to 1900, the Chicago club had winning but indifferent success. Not until 1906, when Frank Chance restored the former glory, did the streak end.\nWindy City fans to see a Chicago team end the season on top. After kicking around in second or third place for several years, the White Stockings really hit the toboggan slide in 1892, and from then on were lucky to keep out of the second division.\n\nAnson had great faith in his ability to climb the heights again and relinquished the managership still protesting that his colts would yet fly the pennant. But Spalding and Hart could see nothing but poor seasons ahead and wanted new blood to win for them.\n\nDelehanty hits for four\nFour times out of five\n\nThe first time up, Delehanty drove a home run into left field.\nThe second time he belted a long drive to right field for another home run. The third time he hit a sizzling line drive for a single. The fourth time he drove another homer to deep center.\n\nDelehanty's last trip to the plate saw Bill Lange, the Chicago center fielder, take a stand between the two clubhouses behind center field, daring him to send another that way. Delehanty obligingly cut loose with a drive that hit the roof of one clubhouse and bounced off the other, earning him his fourth homer of the day.\n\nDespite this remarkable exhibition of batting, Delehanty failed to win the game, as Philadelphia lost to the White Stockings, 8 to 6.\n\nThis period in the late nineties was a particularly dismal one for local fans, but was enlivened by the players' revolt in the Brotherhood war.\nThe National Brotherhood of Base Ball Players was an organization to protect the rights and interests of its members. Led by John Montgomery Ward, star player of the New York club, its influence was first felt in 1887, when it forced the league to adopt a new form of players\u2019 contract. Discontent had been growing for some time. The principal grievances were: first, the reserve rule, under which a player\u2019s contract gave the club an option on his services for the following year, thus enabling the club owner to \"sell\" him at the end of the season; second, the failure of players to share in the profits from such sales; and third, a feeling that salaries were inadequate.\n\nMany Chicago fans are old enough to remember Ed Delehanty's one-man field day at the old West Side park in 1897, when the Philadelphian staged an impressive performance.\nA player made four \"grand\" tours at bat, and for good measure, got a single in the other game. During the next two years, the Brotherhood vigorously campaigned to free the players from a condition which they regarded as equivalent to slavery.\n\nAn article titled \"Is Base Ball's Player a Chattel?\" by John M. Ward appeared in Lippincott's magazine in 1887. It was chiefly an attack on the reserve rule. Among other things, Ward said:\n\nThe clubs claim that the right to retain the services of a valuable player was necessary for the conservation of the game, and with that understanding, the players tacitly acquiesced in the seizure. They never received any consideration for the concession, and when the Chicago club sells Kelly for $10,000, it simply makes that sum out of the player's wages for the season.\n\"Kelly received his salary from Chicago and earned every dollar of it several times over, yet Chicago took ten thousand dollars for releasing Kelly from a claim for which it never paid a dollar. \"Even if we admit, for the sake of argument, that the reserve-rule gives a right to sell, we naturally ask, 'What consideration did the club ever advance to the player for this right? What did Chicago give Kelly in return for the right to control his future services?' \"In November 1889, the Brotherhood issued a public statement announcing that it intended to start its own baseball league, operated by and for ball players. \"Players have been bought, sold, and exchanged, as though they were commodities.\"\nwere  sheep,  instead  of  American  citizens.  Reservation  became  an\u00ac \nother  name  for  property  rights  in  the  player.  By  a  combination \namong  themselves,  stronger  than  the  strongest  trusts,  they  were  able \nto  enforce  the  most  arbitrary  measures,  and  the  player  had  either  to \nsubmit  or  get  out  of  the  profession,  in  which  he  spent  years  in  attain\u00ac \ning  proficiency.  Even  the  disbandment  and  retirement  of  a  club  did \nnot  free  the  players  from  the  octopus  clutch,  for  they  were  then \npeddled  around  to  the  highest  bidder.\u201d \nThe  Brotherhood  entered  the  season  of  1890  with  an  eight-club \nleague:  Chicago,  Boston,  Brooklyn,  New  York,  Philadelphia, \nBuffalo,  Pittsburg,  and  Cleveland. \nThus  for  one  year  there  were  three  major  leagues,  the  Player\u2019s \nLeague,  the  National  League,  and  the  old  American  Association, \nNone  of  them  prospered.  The  Players\u2019  League,  although  it  had  high \nIdeals lacked efficient business management in the National League, and the National League throttled upstarts by scheduling games on conflicting dates in cities where each had a competing team. At the end of the season, the Players sold out to the National League, and the war was over.\n\nThe Brotherhood League, though short-lived, was important to Chicago. It was not so much because this city was represented in it, but because it introduced for the first time in the role of league manager a native Chicagoan, Charles A. Comiskey.\n\nComiskey \u2013 Of all the great playing managers who have made a Native history on the baseball diamonds of Chicago, Chicagoan Comiskey is the only native of the Windy City. He was born on the West Side in 1859, the son of John Comiskey, a prominent citizen and member of the city council.\n\nComiskey first broke into baseball in 1876 as a volunteer pitcher.\nFor the Libertys, a local amateur team, he also played at St. Mary's college in Kansas for the Alerts in Milwaukee, for Dubuque in the Northwestern League, and finally became a member of the famous St. Louis Browns of the old American Association. After joining the Browns in 1882 (he had in the meantime become a first-baseman), Comiskey entered his real period of fame as a player, manager, and club owner.\n\nComiskey's opinions are divided as to his value as a player. He was not the equal of Anson in fielding or hitting. But he had a cool head, a lightning-fast brain, and was a daring base-runner.\n\nAs manager of the Browns from 1884 to 1889, his greatest triumph was scored over the Chicago White Stockings. In the 1880s, the American Association was counted as a major league, and its games were played with a pitching distance of 50 feet 6 inches and a ball weighing between 5 and 5 1/4 ounces. The Browns won the pennant in 1885, 1886, and 1887, and Comiskey's team set a new record by winning 98 games in 1887. The Browns' success was due in large part to Comiskey's innovative management style, which emphasized speed and agility on the basepaths and aggressive play on the field.\n\nComiskey's tenure as manager of the Browns ended in 1889, when he sold the team to a group of investors and became a full-time club owner. He went on to manage several other teams, including the Chicago White Stockings and the Chicago Colts, before retiring from baseball in 1897.\n\nDespite his success as a player, manager, and club owner, Comiskey's reputation has been the subject of much debate. Some consider him to be one of the greatest figures in baseball history, while others view him as a shrewd businessman who prioritized profits over sportsmanship. Regardless of one's opinion of Comiskey, there is no denying his impact on the game of baseball and his place in its history.\nIn 1885, Comiskey's Browns met the champions of the National League, the winners of their respective leagues, in a post-season series for the world championship. Comiskey's Browns tangled with Anson's White Stockings. The series ended in a draw, each team winning three games and tying one. The following year they met again, and this time the Browns were victorious, four games to two. During the seven years that Comiskey managed them, the Browns never finished lower than second place.\n\nComiskey would scarcely figure at all in the history of Chicago baseball before 1900 if it had not been for the Brotherhood war. He came to Chicago in 1890 to manage the Chicago team of the Players' League, in a new park at 35th street and Wentworth Avenue, a neighborhood later made famous by another white-stockinged team.\nIn 1891, Comiskey was approached by A.G. Spalding with the proposition to start a rival team in Chicago, using the south side park. It was Spalding\u2019s idea that Chicago could support two first-class clubs. But with the American Association tottering on its last legs, and Spalding failing to offer any financial assistance, Comiskey gave up the plan, although it was his cherished dream to have a permanent baseball team in his native city. He went back to St. Louis to manage the old Browns for the final year of their existence and that of the old American Association.\n\nCatching old-timers like to tell the story of the most sensational catch ever made at the old West Side park. According to the late A1 Spink, veteran baseball writer, the performer was one Elmer Foster, center fielder for an Eastern team.\nIn those days, fielders had to contend with shadows cast by grandstands and sometimes had considerable difficulty seeing fly balls. In this instance, a Chicago player took a terrific swing, and at the crack of the bat, Foster began running toward deep center. Actually, although it sounded like a hard-hit ball, it was an easy grounder, which the shortstop fielded and threw to first for the out. But Foster kept running back like mad toward the fence. \"Look at Foster,\" yelled the bleacherites. \"What does he think he is after?\" Foster ran almost to the fence, jumped into the air, and came down with an English sparrow in his grasp. The last years of the century saw no upswing in the fortunes of the Chicago National Leaguers. Under the management of Burns, they finished.\nThe team finished fourth in 1898 and eighth in 1899 in a twelve-club league. The next year they finished fifth in an eight-club league. The most important development in the baseball world during the closing years of the 1890's was the birth of a new minor league that soon challenged the baseball monopoly of the National League. This was the old Western League, founded in 1893 by Byron Bancroft Johnson, Charles A. Comiskey, and Matt Killilea.\n\nIn December, 1891, the old American Association was killed through a deal whereby the National League bought out the Boston, Milwaukee, Columbus, Washington, and Chicago franchises of the Association, and admitted Baltimore, Louisville, St. Louis, and another Washington team to membership in the National League. The twelve-club circuit created by this deal was unwieldy. Ban Johnson realized that there was a need for change.\nEstablished another major league to replace the old American Association. He moved slowly, but the experiences of the Union and Players' Leagues had shown the danger of direct attack on the National League. Accordingly, he tried first to build up a strong minor league. In laying the groundwork for the new league, he had the support and assistance of Comiskey, managing the Cincinnati Nationals, and of Killilea, a Milwaukee sportsman. Johnson's forceful personality drove the Western League through early troubles to success. In 1900, he decided to convert his league into one of national scope, to be called the American League. Permission was given to locate an American Association team in Chicago in 1892, under the management of Fred Pfeffer. However, the association broke up before the franchise could be used.\nThe National League granted permission to locate a team in Chicago. This was bitterly opposed by the old league, but the elder organization was going through stormy times and had to give in. Accordingly, the National League was reduced to eight clubs, and the American League also played an eight-club circuit.\n\nChicago, key city of major league baseball, had a new club headed by Comiskey in the twentieth century. However, the new organization did not reach major league status until 1901.\n\nRules \u2013 Old and New\n\nAlthough General Abner Doubleday is credited with inventing baseball, his greatest contribution was that of a playing field or diamond, which has retained the same dimensions since. Doubleday does not appear to have offered much in the way of rules. The first code of rules on record was prepared by the Knickerbocker Club in 1845.\nThe Bocker Club of New York, established in 1845, consisted of only fourteen rules. One of the most intriguing was the scoring method. Games continued regardless of the number of innings until one team reached 21 aces or runs, as long as both teams had played the same number of innings.\n\nUnder the initial rules, and for many years thereafter, the pitcher was required to pitch, not throw, the ball. This necessitated an underhand motion. The Knickerbocker rules also stipulated that a batted ball caught either in the air or on the first bounce was an out.\n\nExcept for these provisions, the original baseball rules were essentially the same as those of today. However, the rules were too simple to cover every possible play, and changes were soon necessary. In early 1857, the nine-inch plan was adopted.\nThe rule changing the requirement that five innings constitute a legal game was instituted. In early rules, there was no called-ball penalty, and the pitcher could waste as many pitches as desired. Conversely, the batter had the privilege of swinging only at pitches to his liking but was not allowed to delay the game or help a baserunner by not offering at good balls, resulting in numerous heated arguments.\n\nAt the National Association of Base Ball Players convention in 1863, a general revision of the rules was made. Among other changes, the pitcher's base and home base were required to be marked with iron plates. The \"out on the first bound\" rule was retained, but a year later, another revision eliminated the bound catch on fair flies, retaining it on fouls.\nUp to this time, the pitcher had been allowed to take a short run in delivering the ball, as long as he did not overstep a line 45 feet from the home plate. The rules of 1863 required him to stand still and keep inside his box.\n\nThe most important change was the introduction of called balls and strikes. However, the rule on balls was not clear. It stated that if the pitcher failed to get the ball over the plate in a reasonable number of tries, the umpire was to warn him, and then begin to call balls on the wide pitches, three of which entitled the batter to take his base. From this, it would appear that the batter might have to take four or five wild pitches before getting a pass.\n\nFurther, in 1867, the batter was given the privilege of asking for either a high or a low pitch. This rule was kept in the code for twenty years, despite\nThe most curious provision of the rules adopted by the National Association in 1872 concerning called balls had a great disadvantage for pitchers. If the umpire called a pitch a ball and the batter struck at it, hitting it, he could not be put out. In other words, if the batter reached for a wide one and tapped out a pop fly to a fielder, he was not out, if, in the umpire's judgment, the pitch was a ball. No wonder batting averages grew fat in the 1870s!\n\nFrom the time the base on balls was introduced, the question of how many called balls should entitle the batter to a walk seemed to have vexed the rulemakers. For several years, three balls were deemed a sufficient number. In 1878, the number was fixed at nine, giving the pitcher an edge on the batter, which he certainly needed.\nThe number of called balls was gradually reduced. In 1880, it was reduced to eight, and in 1881 to seven. In 1884, it was cut to six; in 1885, it was raised again to seven, and back to six in 1886. For the season of 1887, it was reduced to five, and finally, in 1889, the number was fixed at four, where it has remained ever since.\n\nFrom the very beginning, the \"three strikes and out\" rule has been familiar in baseball \u2013 with one exception. In 1887, the number was increased to four, only to be promptly put back to three again the next year. However, what is a strike? The umpire is often unjustly accused of not knowing, but for many years, the framers of rules were not quite sure themselves. As early as 1863, the umpire was given the power to call strikes. But, as batting grew more sophisticated, the definition of a strike became a subject of debate.\nThe hitters learned to foul off pitches that might have been called strikes against them. No attempt to curb this practice was made until 1887, when an obviously planned foul was penalized as a strike. However, this rule caused violent arguments and was soon discarded. In 1894, bunted fouls and foul tips that were caught were counted as strikes. The present rule was adopted in 1901, making any foul a strike until the batter has two strikes, after which he may foul off as long as he is able.\n\nPitching is the department of the game that has undergone the most change in terms of rules. The problems of where and how a pitcher should stand or move, and what kind of arm motion he should use in delivering the ball, were knotty issues until the present-day regulations came into effect.\nThe earliest rules placed two restrictions on the pitcher: to use an underhand motion, and not to overstep a boundary line forty-five feet from the plate.\n\nIn 1858, the pitcher stood behind a twelve-foot line, forty-five feet from home plate, but within those limits, could move about as he pleased. By 1863, he had to stand still inside a box twelve feet long and four feet wide. In 1872, the box was a six-foot square, with its front line forty-five feet from home plate. The square was marked by iron corners, and the center line marked by iron plates, or quoits, called pitcher\u2019s \u201cpoints.\u201d From the founding of the National League in 1876 until 1881, the pitcher's box was six feet by four.\n\nThrowing gradually, with the introduction of the curve ball, finally pitchers began to get away from the underhand motion.\nIn 1883, the pitcher was fully legalized to use a sidearm throw, with the condition that he did not raise his arm above the shoulder. Pitchers often delivered their throws with a skip or jump out of the box. To prevent this, a large marble slab was placed in front of the box. However, many players were injured from slipping on the marble, while others wore rubber-soled shoes and the slab was eventually abandoned in favor of penalizing the pitcher for overstepping. In 1884, all restrictions on arm motion were removed, but the pitcher could only take one step in making the throw. In 1887, he was no longer required to pitch high or low as the batter demanded, making the pitching rules practically the same.\nPitchers were referred to as \"slab artists\" and \"moundsmen\" by baseball writers in the late 1800s. In 1893, a small marble slab was adopted as a pitching surface, which the pitcher had to keep one foot on while delivering the ball. This slab should not be confused with the much larger slab used in 1883. The pitcher's plate began as a small rectangle, twelve by six inches, later increasing to its current size of twenty-four by six inches. The pitcher's plate is now made of rubber. The term \"on the mound\" originated from the fact that pitchers traditionally pitched from a slightly elevated position above the infield, although this was not provided for in the official rules until a later date.\n\nPitching involved changing positions in the box, and the distance from the pitcher's box to home plate was:\nThe baseball diamond has remained at 45 feet until 1881, when it was extended to 50 feet. This was again altered with the adoption of a pitcher\u2019s plate in place of the permanently fixed one at 60 feet 6 inches. The custom of referring to a baseball team as having nine men has been so consistent that the name is nearly as old as the game itself.\n\nIn 1874, a few teams experimented with a tenth player on the field, in a position designated as right short-stop. He played where the second baseman usually does, making the second baseman a sort of roving short-center fielder. The Chicago White Stockings played a game with the Atlantics on July 29, 1874, using a tenth man, and the experiment was deemed a success. However, the idea failed to gain widespread acceptance.\n\nThe changes in size and composition of the official baseball include:\nSince 1872, the baseball has been a hard, leather-covered sphere with minimal size variations. Until then, bat length could be any size, but a limit of 42 inches was set, and its greatest thickness was fixed at 2.5 inches, later increased by a quarter inch. An attempt was made to popularize a square bat, and for a time, one side could be flattened for bunting. However, the bat has always been round and tapering. A complete account of all rule changes would be extensive.\nHave done this work. Nearly every year saw the adoption of new rules or revisions. Yet, the majority of these changes did not touch the fundamental playing conditions of baseball. They were directed rather toward the refinement and perfection of the existing sport. With some blunders along the way, this aim has been accomplished. Few games have as complicated a system of rules as baseball, yet its intrinsic elements are easily understood by anyone. No important rule changes have been made in the past thirty years, and none seems desirable \u2013 a high tribute to the men who devoted their lives toward perfecting the national game.\n\nPennant winners in the National League:\n\nYear Teams Represented Winner\n1876 Chicago Philadelphia, Boston, Hartford, Chicago, St. Louis, Louisville, New York, Cincinnati\nFirst Chicago\n1877 Boston, Hartford, Chicago, St. Louis, Louisville, Cincinnati\nChicago\n1878 Boston, Hartford, Chicago, St. Louis, Louisville, Cincinnati\nChicago, St. Louis\n1879 New York, Cincinnati\nChicago\n1880 Cincinnati, Chicago\nChicago\n1881 Cincinnati, Chicago\nChicago\n1882 New York, Cincinnati, Chicago\nNew York\n1883 Chicago, St. Louis, Boston\nChicago\n1884 St. Louis, Chicago\nChicago\n1885 St. Louis, Chicago\nChicago\n1886 St. Louis, Chicago\nChicago\n1887 Boston, Brooklyn, Chicago\nBoston\n1888 New York, St. Louis, Chicago\nNew York\n1889 Baltimore, Pittsburgh, Cleveland\nBoston\n1890 Pittsburgh, Baltimore, Chicago\nChicago\n1891 Pittsburgh, Boston, Chicago\nBoston\n1892 Boston, Chicago\nChicago\n1893 Boston, Chicago\nChicago\n1894 Boston, Chicago\nBoston\n1895 Brooklyn, Boston, Cleveland\nBrooklyn\n1896 Boston, New York, Baltimore\nNew York\n1897 Boston, Brooklyn, New York\nNew York\n1898 Pittsburgh, Boston, Brooklyn\nPittsburgh\n1899 Pittsburgh, Brooklyn, New York\nNew York\n1900 Pittsburgh, New York, Cincinnati\nCincinnati\n1901 Pittsburgh, Boston, Chicago\nChicago\n1902 New York, Chicago, Cincinnati\nCincinnati\n1903 New York, Pittsburgh, Boston\nBoston\n1904 New York, Pittsburgh, Chicago\nChicago\n1905 New York, Chicago, Cincinnati\nCincinnati\n1906 Chicago, New York, Cincinnati\nChicago\n1907 Chicago, New York, Cincinnati\nChicago\n1908 Chicago, New York, Pittsburgh\nChicago\n1909 Chicago, New York, Pittsburgh\nChicago\n1910 Chicago, New York, Philadelphia\nChicago\n1911 New York, Philadelphia, Boston\nNew York\n1912 New York, Boston, Brooklyn\nNew York\n1913 New York, Boston, Philadelphia\nNew York\n1914 Boston, New York, Cincinnati\nBoston\n1915 Boston, Brooklyn, Philadelphia\nBrooklyn\n1916 Brooklyn, Boston, Cincinnati\nCincinnati\n1917 Brooklyn, Cincinnati, New York\nCincinnati\n1918 Brooklyn, Cincinnati, Pittsburgh\nPittsburgh\n1919 Cincinnati, Brooklyn, Pittsburgh\nCincinnati\n1920 New York, Cincinnati, Pittsburgh\nPittsburgh\n1921 New York, Cincinnati, St. Louis\nSt. Louis\n1922 New York, Pittsburgh, St. Louis\nSt. Louis\n1923 New York, Pittsburgh, Chicago\nChicago\n1924 New York, Pittsburgh, St. Louis\nSt. Louis\n1925 Pittsburgh, St. Louis, Chicago\nChicago\n1926 Pittsburgh, St. Louis, New York\nNew York\n1927 Pittsburgh, St. Louis, Chicago\nChicago\n1928 Chicago, St. Louis, New York\nNew York\n1929 Chicago, St. Louis, Pittsburgh\nChicago\n1930 Chicago, St. Louis, Pittsburgh\nChicago\nBoston: Cincinnati expelled for non-payment of dues.\nBoston, Boston, Providence, Chicago, Indianapolis, Milwaukee.\nBoston, Boston, Providence, Chicago, Cleveland, Buffalo, Syracuse, Troy.\nProvidence: Boston, Buffalo, Providence, Cincinnati, Chicago, Cleveland, Syracuse, Troy.\nChicago: Boston, Detroit, Providence, Chicago, Cleveland, Buffalo, Worcester, Troy.\nChicago: Boston, Detroit, Providence, Chicago, Cleveland, Buffalo, Worcester, Troy.\nChicago: Chicago, Boston, Detroit, Providence, Cleveland, Buffalo, New York, Philadelphia.\nBoston: Chicago, Boston, Providence, Detroit, Cleveland, Buffalo, St. Louis, New York, Philadelphia.\nChicago: Chicago, Boston, Washington, Detroit, Kansas City, St. Louis, New York.\nChicago, Boston, Pittsburgh, Detroit, Washington, Indianapolis, New York, Philadelphia, Cleveland\nChicago - Winner\nChicago, Boston, Philadelphia, Detroit, Washington, New York, Philadelphia, Indianapolis\nNew York - 3rd place\nChicago, Boston, Philadelphia, Brooklyn, Cincinnati, New York, Cleveland, Pittsburg\nBrooklyn - 2nd place\nChicago, Boston, Philadelphia, Brooklyn, Cleveland, Pittsburg, Cincinnati, New York\nBoston - 2nd place\nChicago, Boston, Philadelphia, Brooklyn, Louisville, Pittsburg, Cleveland, Cincinnati, Baltimore, Washington, New York, St. Louis\nBoston - 7th place\nChicago, Boston, Philadelphia, Brooklyn, Louisville, Pittsburg, Cleveland, Cincinnati, Baltimore, Washington, New York, St. Louis\nBoston - 9th place\nChicago, Boston, Brooklyn, Pittsburgh, Cleveland, Cincinnati, New York, Philadelphia, Washington, St. Louis, Baltimore\nBaltimore\nFourth\nChicago, Boston, Brooklyn, Pittsburgh, Cleveland, Cincinnati, New York, Philadelphia, Washington, St. Louis, Baltimore\nBaltimore\nFifth\nChicago, Boston, Brooklyn, Pittsburgh, Cleveland, Cincinnati, New York, Philadelphia, Washington, St. Louis, Baltimore\nBoston\nNinth\nChicago, Boston, Brooklyn, Pittsburgh, Cleveland, Cincinnati, New York, Philadelphia, Washington, St. Louis, Baltimore\nBoston\nFourth\nChicago, Boston, Brooklyn, Pittsburgh, Cleveland, Cincinnati, New York, Philadelphia, Washington, St. Louis, Baltimore\nBrooklyn\nEighth\nChicago, Boston, Brooklyn, Pittsburgh\nThe first shut-out score in professional baseball was made in 1870 when Chicago defeated the Atlantics of New Orleans, 51-0. Chicago also registered the first shut-out in the National League, defeating St. Louis 1-0 in 1876. Either of these victories may have started the custom of calling shut-outs \u201cChicago scores,\u201d which persisted through the 1890s.\n\nThe most one-sided contest in professional baseball occurred on June 18, 1874 when Chicago was defeated 38-1 by the Brooklyn Mutuals.\n\nThe largest number of runs in a single inning was made by the White Stockings in a game with Detroit on September 6, 1883. In the seventh inning, Chicago made 18 hits and 18 runs.\n\nThe White Stockings defeated Louisville on June 29, 1897.\nscore of 36 to 7, a record for baseball played under modern conditions. In 1896, Lange of Chicago led the National League in base stealing with 100 stolen bases. He led the league again in 1897, with 83 thefts. John Luby, White Stockings pitcher, won seventeen consecutive victories in 1890. James McCormick of Chicago won sixteen straight in 1886. As the pitcher was then required to throw high or low as the batter demanded, this record merits comparison with longer strings of consecutive victories. Luby\u2019s record was made after this restriction was abolished. Luby was generally credited with winning 20 straight games until the publication of Richter\u2019s History and Records of Baseball in 1914. The best record under modern conditions was made by Rube Marquard of the New York Giants, who won 19 straight in 1912.\nThe best record under the high or low ball rule was made by Charles Radbourn of the Providence National League club in 1884, winning 18 games in a row. John Clarkson, the greatest old-time Chicago pitcher, made his best record after leaving the Chicago club. In 1889, he pitched 72 games for Boston, winning 46. The most remarkable thing about such old-time records is that until the 1890s, there were usually not more than two, at most three, pitchers on a team, and the best pitcher worked more than half the games. Today, a pitcher feels overworked if asked to pitch more than twice a week.\n\nAlthough he was not a Chicago player when he performed his feat, Paul Hines deserves mention as the first player to make a triple play unassisted. He made this sensational put-out of three men in 1879, while playing with the Providence, R.I., club. Hines was a fielder.\nwith the Chicago White Stockings from 1874 to 1877. For the benefit of fans who have never seen any sort of triple play, here is how Hines did it: With runners on second and third, a short fly was hit to center. Believing the fly could not be caught, the man on base began to run for third and home. Hines, playing center field, came in on a dead run, making a remarkable catch as he came. Then, without pausing, he tagged second base and ran on to third and tagged there before either runner could get back.\n\nCasey at the Bat\nBy Ernest Lawrence Thayer\n\nwith runners on second and third, a short fly was hit to the center field. Believing the fly could not be caught, the runner on first took the opportunity to advance to third, and the runner on second to home. Hines, the center fielder, ran towards the ball with determination, making a remarkable catch as he reached it. Without hesitation, he quickly tagged second base, then continued to third and tagged there before either runner could return.\n\nCasey at the Bat\nErnest Lawrence Thayer\nThe serving piece has all the emotions experienced by the fan as he watches his favorites rise and fall: the gloom of impending disaster, the spark of hope which rises from a few safe hits, the fire of renewed belief, and \u2014 as so often happens \u2014 the final crushing blow. It has the spirit that was born in old-time baseball, the spirit that today moves every real fan and player.\n\nThe outlook wasn't brilliant for the Mudville nine that day;\nThe score stood four to two, with but one inning more to play;\nAnd so, when Cooney died at first, and Burrows did the same,\nA sickly silence fell upon the patrons of the game.\n\nA struggling few got up to go in deep despair, the rest\nClung to the hope which springs eternal in the human breast;\nThey thought, if only Casey could but get a whack, at that,\nThey'd put up even money now \u2014 with Casey at the bat.\nBut Flynn preceded Casey, as did Jimmy Blake. Flynn was a pudding and Blake a cake. So upon the stricken multitude grim melancholy sat. For there seemed but little chance of Casey getting to the bat. But Flynn let drive a single, to the wonderment of all. And Blake, the much despised, tore the cover off the ball. And when the dust had lifted, and they saw what had occurred, there was Jimmy safe on second, and Flynn hugging third. Then from the gladdened multitude went up a joyous yell. It bounded from the mountain-top, and rattled in the dell. It struck upon the hillside, and recoiled upon the flat. For Casey, mighty Casey, was advancing to the bat. There was ease in Casey's manner as he stepped into his place. There was pride in Casey's bearing and a smile on Casey's face.\nAnd when he responded to the cheers, he lightly doffed his hat,\nNo stranger in the crowd could doubt 'twas Casey at the bat.\nTen thousand eyes were on him as he rubbed his hands with dirt,\nFive thousand tongues applauded when he wiped them on his shirt;\nThen, while the pitcher ground the ball into his hip,\nDefiance gleamed in Casey's eye, a sneer curled Casey's lip.\nAnd now the leather-covered sphere came hurtling through the air.\nAnd Casey stood a-watching it, in haughty grandeur there;\nClose by the sturdy batter, the ball unheeded sped,\n\"That ain't my style,\" said Casey; \"Strike one,\" the umpire said.\nFrom the benches, black with people, there went up a muffled roar,\nLike the beating of the storm-waves on a stern and distant shore;\n\"Kill him: KILL THE UMPIRE!\" shouted someone in the stand.\nAnd he likely would have been killed, had not Casey raised his hand. With a smile of Christian charity, great Casey's visage shone. He stilled the rising tumult; he bade the game go on. He signaled to the pitcher, and once more the spheroid flew, But Casey still ignored it, and the umpire said \"Strike Two.\"\n\n\"Fraud!\" cried the maddened thousands, and the echo answered \"fraud!\" But a scornful look from Casey, and the audience was awed. They saw his face grow stern and cold, they saw his muscles strain. And they knew that Casey wouldn't let the ball go by again.\n\nThe sneer is gone from Casey's lips, his teeth are clenched in hate. He pounds with cruel violence his bat upon the plate. And now the pitcher holds the ball, and now he lets it go, And now the air is shattered by the force of Casey's blow.\nOh! Somewhere in this favored land the sun is shining bright,\nThe band is playing somewhere, and somewhere hearts are light;\nAnd somewhere men are laughing, and somewhere children shout;\nBut there is no joy in Mudville \u2013 mighty Casey has struck out.\n\nAnson and his \u201cColts\u201d of the late 1890s.\nMike Kelly, \u201cThe ten thousand dollar beauty\u201d\nCharles A. Comiskey, Chicago\u2019s great playing manager.\nComiskey\u2019s Brotherhood Team of 1890. One of the greatest combinations of stars that ever played in Chicago.\n\nOfficials of the Forest Park Baseball Museum:\nvice-president: Claude and founder of the Museum.\nLeft to right: Lloyd W. Lehman, A. Walker, secretary-treasurer; Emery A. Parichy, president.\n\nThe Forest Park Baseball Museum\n\nFans who would like to know more about old-time baseball may do so without journeying far if they live in Chicago or the surrounding area.\nIn Forest Park, a Chicago suburb, is the Forest Park Baseball Museum. Founded in 1933 by Emery A. Parichy, a businessman who makes baseball his hobby, this museum contains an extensive collection of baseball literature, pictures, and memorabilia. Rare prints of teams dating back to the earliest years, hard-to-find books, balls with nearly all big leaguers' autographs, and curiosities such as masks, bats, gloves, and other playing equipment used by famous players are among the museum's treasures. Much of the material in the museum was valuable in the preparation of this book.\n\nAssociated with Mr. Parichy in the operation of the museum as a non-profit organization are Claude A. Walker, secretary-treasurer, and Lloyd W. Lehman, vice-president.\n[been aided in building up their collection by donations from club and league officials, players, fans, and baseball writers. So far as can be learned, there is only one other baseball museum in the country, the one at Cooperstown, New York. But to Chicago, the cradle of the National League, a city that has been represented in organized baseball continuously since the beginning, belongs the honor of having such a museum no less than to Cooperstown. For the preservation of its records and relics, baseball needs more such institutions. All too soon the old-timers will be but a faded memory, with none to say, \u201cI knew them when \u2014,\u201d and in years to come, the immortals of today will likewise need such memorials.]\n\nThe city of Chicago, as the cradle of the National League and a continuous representative in organized baseball since its inception, deserves the honor of having a baseball museum as much as Cooperstown. The preservation of baseball's records and relics is essential, as the old-timers will soon be forgotten, and future immortals will also require memorials.\no  rn  A \nO  V \no  V \nHO \n,VA \no  V \nO  V \nA \no*o \no \n\u2018  *  ^  C  for/tffrxr.  o ", "source_dataset": "Internet_Archive", "source_dataset_detailed": "Internet_Archive_LibOfCong"}
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