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20 W. H. CARSON [J. S. M. P. E. two contiguous squares, so formed, is equal to the area of each of the squares. The film is then bleached in a manner similar to that formerly described, the bleached line is dyed the third primary color (green), and the resisting ink is then removed in the same manner as described before (refer to Fig. 1). The film is then dried and wound up. This arrangement produces a perfectly balanced neutral grey screen when viewed or projected. When examined microscopically, a r6seau such as illustrated in Fig. 3 is seen. The next question refers to the emulsion to be applied to this reseau. While there are, of course, many applications for color film and the emulsion characteristics are correspondingly numerous, for V//////////////////////////A V///////////////////////////A W/////////////////////////J \ / FIG. 2. Appearance of the film under the microscope, after the process illustrated in Fig. 1. , BLUE | RED •I GREBN FIG. 3. Appearance of the reseau under the microscope, after application of the third color. (In recent screens the green lines are at an angle of approx. 45 degrees to the blue and red.) the present only those that apply to cinematography will be con- sidered. It is interesting to note that in the very early stages of color de- velopment the theorists visualized an emulsion that was truly panchromatic and had a high speed and very fine grains. As no such emulsion existed at that time they approached the emulsion makers much as Macbeth sought the witches of Endor and suggested some diabolical brews that too often resulted in nothing more than toil and trouble, and never achieved results on a practical basis. For that reason it may be said that the development of color photog- raphy has had to mark time until the art of emulsion making could catch up with its theoretical requirements, and it is believed that that time has now arrived. It would be of interest to review some of the problems of the