International photographer (Jan-Dec 1934)

July, 1934 T h INTERNATIONAL P H O T O G R A I ' 1 1 1 1 R Twenty-nine is softer than reversal, and is therefore more easily scratched. The amateur who does his own laboratory work must especially guard against scratches, dirt, and dust, not only in printing but also in processing and drying. Most 16mm. printers can readily be made to serve much the same purpose as an optical printer in a professional laboratory, and its possibilities are worth the expense. Making fades, dissolves, double exposures and trick effects in the printer has its advantage over making them in the camera (if the camera is at all equipped for the purpose) because it is always possible to get them in the right place. If the first attempt is not successful only the cheap positive is spoiled, and the effect can be tried over until just right. When done in the camera, however, expensive film is ruined if the effect is not successful, and one does not know immediately whether or not it is. Should it be unsuccessful it is usually impossible to take it over, and the effect is lost. It is, also, frequently difficult to get a fade or dissolve to come at exactly the right place and a scene may be too long or too short between fades, or some important action is cut out, or unnecessary action included. It is for this reason, as well as that when the camera is interlocked with the sound recording mechanism its shutter must not be closed and locked, that in professional sound pictures all dissolves and special effects are made in the laboratory on an optical printer, which rephotographs the developed film and produces the transitions or special effects with a standard camera dissolve mechanism or special attachments. In being able to make mechanical transitions between scenes as desired, the amateur can overcome one of the greatest disadvantages of reversal film — that of being unable to indicate time lapse without the use of titles, unless, of course, a Cine-Kodak Special is available. A study of professional pictures will reveal the importance and frequence of the use of fades and dissolves. Dissolves and double exposures are also very valuable in montage editing, by means of which it is possible to suggest with details what it is impossible to show as whole, and in creating rhythm and tempo, the dissolve tending to slow up and smooth out the picture. It is also less of a shock to the eye than direct cutting, and is, therefore, more pleasing. I need not go more fully into the value of dissolves and other mechanical transitions in films — they are perfectly obvious to any movie-maker. With the increased use of 16mm. negative and the resulting research to improve its quality it is logical to predict that the cost will be lowered and negative film will gradually replace reversal film. This is especially true for 16mm. sound on film, for if the sound is not recorded directly on the film on which the picture is taken — and most sound is desirably dubbed in later — a negative must be used. There can be no doubt that negative film, with all due respect to the present advantages of reversal film, has many advantages which in time will make its use as universal as that of reversal film todav. In the interests of screen realism the next thing in added movie equipment will be movies that have to do with smell. Lou Brock, at RKO, is developing the idea and when it is introduced the fans will be able to see an expanse of ocean and at the same time smell the salt air. The same will apply to flower gardens, tropical settings and boudoirs. The various odors in the form of chemicals which dissolve almost immediately upon contact with air, are placed in the air conditioning systems of the theaters. The sensitive control of modern air conditioning enables the operator to completely synchronize the odors with the film. It is planned to use this in "Down to Their Last Yacht." Charlie Ray is coming back. He is coming back with holes in his shoes, a philosophy, and a big smile. He will no longer be the barefoot boy that once he was in the old Ince pictures, but a character for Paramount in "Ladies Should Listen." Let's not forget the stars who gave the screen so much a few years ago. Paramount has given a number of them a new break in the sound films. These old stars, who are still so young in years, don't want sympathy; but instead a chance to go before the camera. That is their life and they would be satisfied with just a small part. They deserve that much. We should like to have you meet Florence Lawrence, Florence Turner, Paul W. Panzer and some others, who were on the screen a few vears ago. You'd like them. The Roto-Tank showing Film and Separator 16 and 35 mm. Positions of Rotor The New HOLLYWOOD ROTO-TANK Specially designed for users of Contax, Leica, Military Cameras, 16 mm. and location tests on sound and action recording units. A maximum of agitation is produced in this unit, insuring shorter developing time with color separations and gradations unobtainable by other methods. No pre-soaking, no air bells, no streaks. The entire unit is constructed of heavy bakelite of low conductivity. 25 feet of 35 mm. or 50 feet of 16 mm. For details regarding the Roto-Tank and larger units write ROY DAVIDCE FILM LABORATORIES, Ltd. 6701 Santa Monica Blvd. Hollywood, California Please mention The International Photographer when corresponding with advertisers.