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16 W. H. CARSON [J. S. M. P. E. he was able to enjoy only to a limited extent; or, if these are not sufficient to satisfy his need, seek new and other diversions with which to fill his time. Countless thousands of dollars are being spent to create, on an ever-increasing scale, extravagant and spec- tacular productions that must in time break down of their own weight. Some new and startling feature must be introduced to rejuvenate the appeal, a feature that would admit of simplifying or abandoning the costly artificial settings and bring into play a new artistic medium, which, while new in motion pictures, is one of the primal appeals to which human beings react — color. After a comprehensive study of all the theoretical processes avail- able and those that have been in a measure successful, the conclusion was reached that two-color and three-color optical and imbibition processes have not, with existing equipment, both taking and pro- jection, given a result on the theatrical screen that will satisfactorily fulfill these various requirements. The ideal method of producing colored motion pictures would seem to be a system by which such colored pictures could be made with the existing cameras and light- ing equipment, and supplied to the exhibitor for satisfactory use on his present projection equipment without expensive alterations; and, what is equally as important, to accomplish that result without any radical change in the present laboratory procedure. Thus it would be possible for every producing company to add color as a supple- mentary feature to its productions without disrupting its organi- zation or making large capital investments. All these require- ments are fulfilled by the Dufaycolor process, here described. For ordinary transparency purposes little importance seems to be attached to the pattern of the screen so long as the three primary additive color elements are present in the proper balance and pro- portion. Dufaycolor, Lumiere, Agfa, Finlay, or other transparencies that are really representative of these systems will all produce apparently perfect color rendition with suitable transmitted light if viewed at a distance of about eighteen inches by the average eye or projected from standard lantern-slide size to the usual small-screen size. Where non-geometrical color-screens are used it necessarily hap- pens that masses of the red, blue, or green units occur in the form of blotches or larger areas, and it is obvious that for achieving per- fect effects on greater magnification better results can be attained when the three primary color elements are regularly broken up into the smallest possible units and uniformly distributed. For that