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in the way of technical aids than he has, yet they have sacrificed nothing of their individuality. Sound men have innumerable mechanical short-cuts comparable to the cameraman's light meters, yet recording certainly shows no signs of becoming a standardized, purely mechanical craft. The lab-men who process the cinematographer's film have taken advantage of the aids of sensitometry, of scientific control of solutions, and the like, yet the variations between one laboratory and another are as well marked as ever they were in the days of racks and guesswork.
The photographer has even more to gain from the use of modern scientific aids. In just the measure he can free himself from the routine, mechanical aspects of his work, just so fast can he gain added time and energy for the advancement of his artistic work.
We can also second Milner's plea for light-meters designed more truly for professional use under modern conditions. When such modern emulsions as Agfa Supreme are used with lightings that take full advantage of their speed, new and incredibly low exposure levels become normal. Light-measuring devices which were accurate for the lighting conditions familiar with superpan-type films can become misleading used under these new conditions. Inevitably, as cinematographers grow more and more accustomed to the possibilities of this film, the normal in lighting is descending to progressively lower illumination levels. Meters designed to coordinate with this trend would be of the highest value to cinematographers in and out of the studios.
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Reliability of product must be the keynote of any lasting success both in the manufacture and the use of motion picture raw stock. Cinematographers here in America have established amazing standards of photographic reliability in their work. Since this uniformity of personal technique must necessarily depend upon the uniformity of the film products used, it is only logical that our cinematographers insist upon reliability in their raw film.
But this insistence upon reliability can be carried too far. All of the widely used film products of today are reliable. That much can be taken for granted. The really vital question should be whether or not the film is genuinely suited to modern needs.
It seems to us that cinematographers who overlook this fact are doing injury both to themselves and to their employers. When all available film products are of closely similar type and characteristics, it may be well enough for a cinematographer to say, "I use XYZ film; I've used it for years and I know it is reliable." But when film products are available which in addition to equal reliability, offer superior fitness for today's conditions and work, that same attitude ceases to be commendable.
In plain English, a man who takes that ultra-conservative attitude is deliberately closing his eyes to something which may improve his work and give his employer better photography at lower costs. The producer is paying this man not alone for his purely photographic ability, but for having the intelligence
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