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PEE FACE vii
ready availability of Kodachrome and of cheaper and better cameras and projectors, and because of the availability of sound projectors and sound films for the home. Many amateurs became professionals in the 16-mm field; many professionals became amateurs.
Despite its age of over 40 years, the technical literature of the motion picture is surprisingly sparse and spotty. It is found almost entirely in short papers published in the journal of a single society : the Society of Motion Picture Engineers. A scientifically trained person with no prior knowledge of the industry would find these papers as many small curiously shaped pieces of a large jig-saw puzzle for which there is no over-all guide by which the pieces may be put together, or from which it would be possible to determine whether all the essential pieces are present. This book is the author 's attempt to provide the first such technical guide. It has drawn liberally upon the Journal of the Society of Motion Picture Engineers for its material and its illustrations; the author wishes to express his sincere thanks to the Society and its officers and to the many authors of its papers for permission to use them. It is the author's considered opinion that an integrated and rationalized explanation of the processes of the 16-mm film would hardly be practicable without them.
It is hoped that the entire book will prove helpful to the newcomer to films. To the specialist in film technology its value may lie primarily in fields outside his immediate specialty. Its major usefulness, however, will be to that large segment of intelligent inquiring people making and using films, who believe that 16-mm has a tremendous impact upon national — and international — life, and yet find that some of its technological nuances seem to be a hazy puzzling mystery, rather than a rational and logical engineering and businesslike process.
Maxfield, a venerable of the sound film, once described the sound motion picture as * ' . . . the application of engineering equipment to an art . . ." Since the primary emphasis of the past has been upon the art and not upon the science, it is not a surprise to find that the nomenclature and terms used as its language are primarily non-scientific. There are many coined terms; a number of accepted definitions have several shades of meaning included in the American Standards Association nomenclature. Still other specialized terms are not industry-wide, and are used only in special places in special instances; many of these are unknown to the industry at large. It took almost 50 years before the first American Standard Nomenclature for motion pictures came into