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A portion of the huge hacienda set which serves as background for the colorful "Fiesta," directed by LeRoy Prinz. Robert Pittack and Al Gilks, first cameramen; George Clemens, operator; Thad Brooks, technician and Nelson McEdward, assistant. Still by Clarence Graves.
Totqh Filivi
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ings, and it was his belief that had he not reached his maximum audience with his existing equipment the film would have stood an additional 2800 projections. At Treasure Island, from September 10 to 29, 1940, a single processed reel showing the Hetch Hetchy water project was used every 15 minutes for some 12 hours a day, totalling about 900 showings. The user reported that "the print is still in good condition, a little oily, but otherwise in good shape."
While, ideally, film should be processed before it is ever projected, in order to prevent damage which is as apt to occur during the first showing as during the last,
old film is partially restored and its further deterioration is prevented, with application of the process. Grayness in black and white film, resulting from tarnishing of the silver is in large measure prevented by the process and — this is one of the hardest to believe — definition is added to the film itself.
Smoother projection results from application of the process, and with less tension on the sprocket holes there is apt to be less breaking.
You'd think a story like that would have been told before, wouldn't you? It is being told now, and the process is being made available to any user of motion picture film, requiring a miximum of 24 hours in the laboratory, calling for a very little expenditure.
And the claims? You think them impossible? In 1836 there was a movement to
close the patent office because everything worthwhile had been invented; undoubtedly there are records showing why it was impossible for Bell to invent the telephone, Marconi the wireless, Edison the Kinetograph. Yet the impossible was accomplished— and the patent office does a bigger business every year.
There is one final answer — the judgment of the unbeliever after thorough analysis. The O'Sullivan Film Process invites any test the technician may care to make, and suggests, meanwhile, that "If it's worth filming, it's worth preserving." Those who want tough film can get it here.
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International Photographer for December, 1941
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