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Cinematography in Colors 585
sectors, and proposed to equalize exposures by variable speed of the shutter or darkening the green and blue sectors.
H. L. Huet and A. Daubresse0 employed a series of lenses mounted on a drum at axial distances equal to the interaxial separation of the successive pictures. There was also a film-carrying drum with a series of reflectors. This arrangement of lenses, and Wenham prisms were used, antedates some later patents. M. C. Hopkins7 proposed an improvement on this by using two oppositely moving drums with reflectors and color filters.
C. M. Higgins8 would use a series of fourteen lenses mounted on a sprocket chain, each lens being fitted with a colored diaphragm at the rear. The interesting point about this patent is that the inventor used a central aperture to admit white light : "the central apertures are of such size that the unobstructed light passing through the rest of the diaphragm will produce the desired actinic effect upon the sensitive surface of the film. The colored light alone is not sufficiently active chemically to produce the effect with sufficient speed for kinetographic work, and consequently the central aperture is provided to give the additional light necessary." This idea of adding white light was first suggested by J. W. Gifford (see p. 61), and has been used for cinematography by Raleigh and others. B. A. Brigden9 also used the idea of multiple lenses.
J. Berthon and J. Gambs10 used revolving sectors and11 would also use mirrors, glasses or prisms interposed between the lens and film. The projecting filters were differentiated in color from the taking filters. Berthon, Gambs & Theurier12 would project a successively taken positive simultaneously with two of the images through concentric shutters. H. Joly13 when dealing with the positives for projection would do away with rotary shutters and color each positive itself, a device patented by many others. W. N. L. Davidson14 proposed to use an endless band of celluloid, bearing the filters, thus doing away with the sector shutter. W. FrieseGreene15 also proposed to use the endless band, in this case with three colors, whereas Davidson used two only. W. F. Vaughan16 used an opaque band with the rotary color shutter.
O. Pfenninger17 would do away with the opaque sectors and arrange the shutter in front of the film so that the color sectors overlapped one another at a particular period of their revolution, thus making a temporary safe-light when the film was moved. II. \V. H. Palmer18 proposed to use the sector shutter for the negative, but stain up the positive like Joly. E. Maurich19 arranged the sector shutter for projection so that the colors followed one another in the order blue, yellow and red, with a longer dark break between the colors as a whole than between the individual colors, claiming better fusion. Viscount Tiverton and E. A. Merckel20 proposed to use the dark interval both in taking and projection to obtain and show a second picture by another camera or projector. In taking this was said to give great increase in speed.