International photographer (Feb-Dec 1929)

May, 1929 / // « INTERNATIONAL PHOTOGRAPHER Eleven A Gesture of Good Will A grand gesture of good will from a great organization to a great profession is the gift to the cameramen of the motion picture industry of the Technical Service Laboratory, Santa Monica Boulevard, Hollywood, just completed by the Eastman Kodak Company. For the laboratory is, in fact, nothing less than a perpetual gift of service to the photographic department of the motion picture industry, and a gift with no restrictions or strings. It is for the use of the men of whom Dr. Mees, director of the Eastman Research Laboratory, Rochester, recently said: "You gentlemen are known throughout the world, without any dispute or question, as the greatest exponents of the art of photography — there is no question about it — the cameramen of Hollywood are the greatest known in the art of cinematography — in that field you are supreme." And it is for their use without charge or obligation and its usefulness to these men for whom it was conceived and built will be determined only by the measure of their willingness to appropriate its facilities. As The International Photographer goes to press the Laboratory (its excellence deserves the capital letter), has been declared completed by Mr. Edward O. Blackburn, vice-president and general manager of J. E. Brulatour, Inc., West Coast representatives for Eastman film, traditional friend of the cameramen and whose interest in the project from its inception has been characterized by intense enthusiasm. This new institution is housed in an attractive building adjoining the Brulatour establishment on the west. It is 40x150 feet in ground dimensions and about 35 feet in height. In front is a garden of flowers and trees separated from the street by a wall of novel design in keeping with the general style of the building. Two great bronze doors open into the foyer, a gorgeous and sumptuously furnished room occupying the entire width of the building, lighted by immense cathedral windows hung with beautiful draperies and soaring away to the ridge beams thirty feet above — a room at once dignified, charming and unusual, the like of it not to be found in an industrial institution anywhere. To the right as the visitor enters is the attractive booth of the attendant in charge; in the middle is the entrance to the laboratory, while at the extreme left is the stairway to the offices on the second floor. Here is the library and the offices of Mr. Perry Connor, Mr. Emery Huse and Mr. Ned Van Bureau, none of whom require introduction to cameramen or to any of the readers of The International Photographer. The library will be one of the most complete store houses of photographic literature in the world and will be at the service of cameramen night and day. On the ground floor in the rear of the palatial foyer is located the laboratory, the dark rooms, etc., in which have been installed the last word in supplies and equipment known to laboratory practice. Here the cinematographer will find everything ready at hand that will enable him to undertake any desired operation in the development and processing of film. He is at liberty to follow his own devices. The workshop with all it contains is his and no questions asked. So completely does the Eastman organizaiton keep its hands off that the cameraman is invited to bring to the Laboratory any brand of film he desires. If he wants advice he can have it without cost or prejudice, but otherwise he will work alone in absolute privacy and seclusion. The rear seventy feet of the building is given up to the most delightfully comfortable and attractive private theatre on the West Coast. Beautifully finished, luxuriously carpeted and with every seat a king's chair, this theatre will delight the heart of everyone who enters it. There is an artistic procenium framing the screen, a stage just large enough to accommodate half a dozen people, silken curtains, steam heat, perfect ventilation and an equipment in the projection booth unsurpassed anywhere. This little beauty spot will seat fifty and the front seats are sufficiently far from the screen to make every seat perfectly desirable. Here the cameramen are invited to hold their "star chamber" sessions behind locked doors, if desired, and carefully guarded from all outsiders. Nothing has been overlooked for the comfort, convenience and service of the men in whose interest this unique building was erected and equipped and the more men that use it the better Eastman will be pleased. The theatre is provided with complete lighting equipment so that if desired it may be used as a studio for special shots and this convenience will be utilized by the Eastman staff when the theatre is not otherwise engaged to make and screen tests of their film. The total investment including furniture and equipment, approximates $125,000, certainly an impressive investment in good will and service and the cinematographic profession is sure to meet it in the spirit in which it is dedicated. Future Possibilities of Recording Sound It seems at the present time that there is a doubt as to what finally will be determined as the best method of synchronizing speech and music and also sound effects with motion pictures. Some producers have selected the disc method for recording while others prefer the film method. The life of motion picture film and also the wear on records and film has been taken into consideration. It is possible that a sound film will last as long as a silent film, providing it has good care in handling and also providing the projectors, upon which the films are shown, are in good condition. We have run sound prints with film recording which have been in use ninety days to six months and found the sound track to be in good condition and recording perfect. However, with the disc method, the records can be run not more than twenty-two times and, if recording has sound effect along with speech or music, these records do not last as long as ordinary speech or musical records. The film with sound vibrations, such as cannon shots or any loud noise similar to this, do not last long. Many producers By Russell McCulloch Russell McOullogh, engineer in charge of Installaiton and Maintenance of Projection and Electrical Equipment and Supervisor of Projection, Fox West Coast Theatres. have selected the disc method for synchronizing sound with motion pictures notwithstanding many difficulties have been encountered with disc recorded films. We have had trouble in our neighborhood theatres because of disc films being out of synchronism. On every occasion we have found that a piece had been cut from the film and had not been replaced with blank film. It is very essential, in order to make a success of sound pictures, that these things do not happen and every projectionist should not fail to report when he cuts a sound print so that the film inspector at the film exchange may note this cut and replace the film before it reaches another theatre. When disc film was first produced every foot of film was numbered. If a projectionist received a disc print without a starting frame he could readily look at the side of the film and tell what amount of film had been removed, so that he might start upon the frame on the first foot of film. It is regretable that this has been discontinued. Many discussions have taken place during the past six months as to what method of recording will be used in the future, but it is apparent that filmrecorded motion pictures will give less trouble in projecting than disc-recorded film. Another thing in favor of filmrecording is that theatres may run two thousand feet of film on one reel whereas with the disc-recording method it is impossible to run over a thousand feet of film because of the record size. While projecting film with synchronized discs "scratch noise" is very noticeable and is almost impossible to eliminate. This is a serious objection to the disc method of synchronization. The scratch noise interferes with speech and also music. With the film method, while projecting sound pictures, there is no noise noticeable with the exception of ground noises and those which register due to scratches or dirt on the sound track and noise which comes if the sound track is not lined properly with the sound aper[ Concluded on Page 18 ]