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ENGLISH DUFAYCOLOR FILM PROCESS 15 script writing, directing, acting, photographing, lighting, stage con- struction, processing, projection, and theater construction, has been revolutionized to serve the new medium of sound. But in return for all that, a broadened scope of dramatic and popular application of sound pictures with respect to their increased entertainment value has been found. Since we are dealing with an industry that depends for its continued prosperity on its dollar-and-cent value and an ade- quate return to its stock-holders, it must be admitted that the advent of sound motion pictures has enabled the motion picture industry to retain a position in the entertainment field through a most trying period, when almost every other industry in the luxury field has been forced into bankruptcy, if not completely annihilated. Color in motion picture photography must enjoy the same con- sideration in planning productions, selecting subjects, actors, make-up, costumes, settings, in directing, lighting, and photographing, that is now being given to sound, if it is to contribute as fully to the progress of the industry; but it can not fail to assume a position of similar importance in the very near future. No claim for originality is made for these statements, and recognition must fairly be given to the pioneer work that has been done by Technicolor under the able direction of Dr. Herbert T. Kalmus along those lines. The progress that has been made up to the present in recognizing a distinct technic in color production lends some encouragement to the conviction that producers are awake to the possibilities of color, and are only waiting to be shown the practical means of application and be assured consistently satisfactory results on duplication before making it a major consideration in future productions. The first question that arises is whether colored motion pictures having a true color fidelity throughout the full range of the visible spectrum can be produced commercially for a slightly increased cost, which increase might be justified by an increase either in the box-office receipts or in entertainment value, permitting the motion picture to maintain or improve its present outstanding value as entertainment so that financially it may continue to compete success- fully against other and newer amusements. No industry that occupies such a paramount position as the motion picture industry occupies in the amusement field can afford to "rest on its oars" during a time when changing conditions in the social order are creating a superabundance of leisure for the average person, who can now indulge more frequently in the pleasures that formerly