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538 ARTHUR S. NEWMAN [J. S. M. p. E.
ing. The registration on the screen depended upon the skill of the operator, and the condition of his nerves at the time. The show, however, was usually a very fine one.
I propose to divide the evolution of the camera mechanism into three periods, and the cameras, to which I have alluded, belong to the first period. I will now run through and describe the salient points which characterize their mechanisms. The original Lumiere movement was, I believe, an ordinary eccentric. This and several cameras of contemporary date were constructed to deal with lengths of film of only 75 feet; they had neither feed nor take-up sprockets. The film was pulled from the top roll direct to the intermittent movement, or, to minimize the shock, over a spring roller, and after exposure was allowed to fall loose into a light-tight bag or box. This made the apparatus unwieldly and the take-up mechanism was added, at first with no sprocket. The camera of Chard & Pescheck was the first example to come to my notice as possessing means of rerolling the film. The introduction of take-up rolls minus sprockets proved detrimental to the steadiness of the picture, because as the roll became large and the weight greater, swing and vibration caused jerks on the film which tended to accelerate its movement through the gate. Lumiere showed a fairly steady picture, only deflected at times by the extra stress which was produced by the resistance of the top roll, or the taking up of a length of film which had jerked loose.
After Lumiere, the pictures became very unsteady, and earned the name of "The Jumpers," which they well deserved, but public interest was still to an extent maintained. Perforation was inaccurate and the cameras were badly made and badly designed, and sprockets for the most part were absent. Quite early in this period, when projectors were first made, Messrs. Hay don and Urry of Islington introduced a movement to which I shall allude later. Moy was also at work and made films contemporary with Paul. I did not manage to see the Moy camera so I cannot say what the first movement was like.
We now come to the second period in which the claw mechanism took the lead. It is difficult to make any exact line of demarcation between these eras because the Lumiere movement might be called a claw movement. There were several mechanisms that possessed features somewhat similar, and the only way I can exactly describe them is by pointing out that crank and link movements to a great extent took the place of slides and cams. I was early in the field with a claw movement, which had only pin joints in its construction.