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comfort and good seeing — factors which afifect the patronage. These are obvious examples, but they should be handled as scientific problems and not settled by personal opinion. Science alone can give the needed impersonal basis for such standards.
Your nomenclature is an important subject for standardization. New machines, new processes, new materials appear, to which new names are given, some of them apt and striking. They are real contributions to our language and should have standard definition. So, too, all the terms of the industry should be clearly named, and officially defined in the interest of definiteness and to avoid misunderstandings. The dictionary must follow usage and cannot really standardize. It is rather a dragnet for all usages and meanings. The standardization of terminology should be by the primary users of the terms employed and will greatly facilitate definite thought and discussion.
Optical standardization would include light sources in the studio and the theater — their quality, steadiness, brightness, and distribution ; also the optical systems of lenses, reflectors, screens, and the question of eye comfort. For example a standard studio light might be specified and perhaps scientifically planned to eliminate glare by absorbing screens while retaining a standard photochemical action. Clearly the film sensitivity, the studio light, and the projection lantern must be standardized upon the same basis if the outcome is to be successful. The best exposure and projection time of unit picture in relation to light intensity and retinal persistence is a matter for physical and psychological experiment. Among the most obvious items to be standardized are the width, length, and thickness of the film; the form, size, and location of the perforations, and such standardization to be stable must be on a world basis, for science is international and scientific standardization must be the same.
Looking more to the future, an ideal we are approaching slowly, and in which engineers should take a deep interest, is that of an ideal atmosphere within the theater. It is a problem of hygiene to ascertain numerically the factors needed by the engineer to provide such a standard ideal atmosphere. It may eventually include the best temperature, abundant fresh air, and also the cooling and drying of the air when required, making it dust free, circulating it, and possibly giving it a healthful trace of ozone, and the fragrance of the woods. This may be looking a long way ahead, but vision is required in such matters. When we speak of a standard indoor climate, we may recall that practically all of these elements have been separately realized in actual service and need but the unifying hand of the engineer to realize in combination. What this standard atmosphere will mean for public health, comfort, and enjoyment can hardly be overestimated.
Your motion picture industry touches many arts— photography, architecture, illumination, the drama — and it would be needless to suggest how varied are the subjects which involve standardization.