American cinematographer (Jan-Dec 1926)

Eighteen AMERICAN CINEMATOGRA P H E R August, 1926 < Continued from Page 17) so come to expect fine projection that we almost take it as a matter of course. Is there in this day of advanced excellence in the mechanical devices available and the almost fool proof machinery, really any excuse for poor projection? Only a short sighted policy will permit a theatre manager to abuse the eyesight and infringe on the patience of his customers. Projection is so much an essential part of the entertainment value of motion pictures that showmen have every business incentive for being liberal in their expenditures for equipment and careful in their choice of apparatus. We are convinced that this is not only wisdom in business judgment but a matter of actual necessity if a theatre is to retain its patrons and meet the theatre competition that is bound to enter a field not properly served. Every theatre in the land should be so equipped that perfect screen service is unvarying. There should be safeguarding against all contingencies and protection for all emergencies. This is the showman's essential cooperation in the entertainment of his audiences. A medium picture projected so that the beauties of its photography are evident is better than the finest picture masterpiece so poorly put on that the customers are annoyed. We believe the day is not far off when the public will stay away from theatres that have poor projection and we can't say that the blame will rest with the public. They know now what good projection is and they are not slow to place the responsibility where it belongs— on the shortsighted or careless manager. (Continued from page 11) ment and experience — and the latter includes experiments. Very often the cinematographer finds it necessary to disregard his artistic urge when, to give vent to it, would mean hundreds of dollars of additional expenditure to his company. The recognized cinematographer is ever on the outlook to effect economies in production, and, as a matter of fact, he has perfected his art to the degree where, through the progress of cinematography as a whole, thousands of dollars are saved in the film industry each year. Thus it is that the CINOPHOT The Automatic Exposure Meter for the Movie Camera Patented by Dr. Emit Mayer UP Automatic — scientifically exact under all light conditions. Gives correct diaphragm settings for sun and twilight, outdoors, studio, natural or artificial light. Adjustable for individual vision. Always ready for use. The CINOPHOT saves film waste and disappointment. Price in fine sole leather case, .SO 12 Chas. G. Willoughby, inc. no West 32nd Street New York, N.Y. E. Burton Steene Freelance Akeley Camera Specialist GRanite 1 622 Care of American Society of Ciiiematographerg 1219-20-21-22 Guaranty Bldg. Hollywood, Calif. GRanite 4274 (Continued on page 19.) SUBSCRIBE FOR THE American Cinematoqrapher mm