The Cine Technician (1953-1956)

April 1955 CINE TECHNICIAN 57 plotted in the usual way. With Microphen it was noticed that the increase of gamma with development time was slow, and that the contrast of the high exposure region increased more slowly than that of the normally used lowexposure region. The absence of any flattening in the high density region, even with the longest development time, is remarkable for a low-contrast developer. An exposure range of over 16,000:1 could be accommodated, or put another way the normal 32:1 subject could be overexposed 500 times (nine stops) without loss of tonal quality. Making a comparison with material developed in the MQBorax developer, the most noticeable feature was the increase of emulsion speed that was obtained with Microphen — 2 degrees B.S. When even density areas of MQ-Borax and Microphen strips were enlarged simultaneously to a magnification of 15X on bromide paper, no graininess difference could be detected. In the light of these tests the reviewers came to the conclusion that the makers' claim of doubled emulsion speed without grain increase was for all practical purposes justified, and that the speed increase was a true one and not achieved by forcing up the contrast to obtain a printable density range with under-exposed material. TNTERNATIONAL Photographer -^ quotes announcement by Society of Motion Picture and Television Engineers that first test films designed to achieve standardisation in colour television transmissions will be available soon. The test films will be produced by three manufacturers, Eastman Kodak, Ansco and Technicolor, to standards laid down by the Society's Television Committee. SMPTE will make quantity prints and supply them to broadcasting organisations as a service to the industry. ARTHUR LVBIN REPLIES TN February " Cine," remarks * attributed to American film director Arthur Lubin were subject of editorial comment. Mr. Lubin now writes to say that he has been misquoted. If so, the fault is not " Cine's." Our report was an accurate citation from a report appearing in an American film trade paper; but we are very glad to publish Mr. Lubin's disclaimer and explanation of his true opinions. " If I had made all the statements credited to me in the article, I would indeed deserve more than reproach, because within the last year I have had two most happy experiences with British production. That my fellow workers were both effective and hospitable is well illustrated by the fact that I was able to complete my last film, Rebound, ahead of schedule, which, of course, indicates the sort of personal co-operation I received from all production personnel. Specifically, I was misquoted relative to the Eady Fund Plan. I do at least know that its sole purpose is to support and encourage British Production and that its benefits are not available to outsiders. So I could scarcely have stated that it was a growing attraction to American producers. Nor could I even have hazarded a guess as to the British gross, producer profits or Eady Fund contribution on either of the pictures I directed. I could only express a hope that the returns would be large, for in this country a director is usually judged on the financial success of his pictures. I did say that production moves at a slower tempo in England than in Hollywood. However, whatever I might have said regarding English workers seemingly to take their time was certainly not meant to offend. It merely expressed the natural reaction of anyone who is accustomed to working under the American pressure system. There is a more leisurely pace in British studios, as in English life — a pace I am sure that makes for fewer ulcers, but one to which we ' hurrying ' Americans have to become adjusted. At the present, I am again working under pressure, and find I miss the ' tea breaks ' and am quite envious of the five-day week enjoyed by British studio employees. I do not quarrel with the slower tempo when the final results on the screen are so excellent. I also am aware of the fact that this slower production pace is due, in part, to the lack of the same quantity of equipment which major Hollywood studios afford." In April 1934 —21 years ago A.C.T. POLITICS. The following item is taken in its entirety from the General Council Minute Book, and is reprinted without comment: " The Chair: Finally, as we have so many Conservatives as Patrons, I have asked Mr. Le Mesurier Mander, who is a Liberal, to become a Patron, and it now remains to get a Labour member." MANCHESTER CITY beat Portsmouth in Cup Final at Wembley. SIR GERALD DU MAURIER, the actor and manager, died 11th April, aged 61. B.B.C. broadcast a short programme from Admiral Byrd's Antarctic expedition; it was relayed from the Bay of Whales via South America and New York. Reception was marred by distortion and fairly high noise level. IN GERMANY 400 Evangelical pastors appealed to the Pope to organise the defence of Christianity threatened by the Nazis. IN ITALY Mussolini announced all-round cuts in salaries, rents and food prices to reduce the Budget and cost of living. In FRANCE 640 civil servants were arrested for taking part in a banned Paris demonstration against wage cuts. IN INDIA Gandhi announced abandonment of civil disobedience movement. MINISTER OF LABOUR said the Government could not support the proposal for a 40-hour week at the International Labour Conference. FILMS RUNNING IN LONDON included Charlemagne (Raimu) at Academy, The Battle (Charles Boyer, Merle Oberon) at Capitol, Wonder Bar (Al Jolson, Dolores, del Rio) at Carlton, Sorrell & Son (H. B. Warner) and Roman Scandals (Eddie Cantor) at Leicester Square, Man of Aran (Director Robert Flaherty) at New Gallery, You're Telling Me (W. C. Fields) at Plaza, Return of Bulldog Drumynond (Ralph Richardson) at Regal, Marble Arch (now Odeon), Autumn Crocus (Ivor Novello, Fay Compton) at Rialto, It Happened One Night (Clark Gable, Claudette Colbert) at Tivoli.