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2 I. 16-MM FILM AND ITS RELATION TO OTHER SIZES
sought out Robert Paul to duplicate the machine for them. Paul assumed that Edison had patented his machine in England and refused, pointing out that both he and they would expose themselves to patent litigation and heavy damages. The Greeks were dismayed, and departed, taking their Kinetoscope with them.
Paul then looked into the patent situation more thoroughly and found that Edison had not filed British patents upon his invention. Accordingly he was free to set to work and to build machines — and he did so for the two Greek entrepreneurs and others. Since only Edison films were widely available, Paul's Kinetoscopes were made for the Edison 35mm film. When Edison's representatives Maguire and Baucus became aware of this, however, they took steps to cut off the supply of Edison films to Paul's machines. In the meantime, Paul who had recognized the limitations of the "peep-hole" viewing arrangement, set about building a projector which he called the Animatograph ; this was Paul's design that resulted from a suggestion of Birt Acres, who at the time was in the employ of a firm manufacturing dry plates and bromide papers. In the early months of 1895 the Animatograph was built and first tested ; this machine was probably the first to use a picture gate as we now know it and an intermittent movement. Since Paul's customers for the Kinetoscope had stretched from England to New Zealand, Paul was now forced to arrange for a supply of film to keep the machines running that he had sold. With his source of films cut off, Paul was forced to build a camera and to produce the films himself. It was at this point that Edison's agents decided to withdraw from England because of the ingenuity and persistence of Robert Paul.
Lumiere, a French firm manufacturing photographic apparatus and dry plates, was seemingly attracted to motion pictures by the Edison Kinetoscope as was Paul. Upon seeing the Edison machine in 1894 in Paris they recognized the drawbacks of (1) too many frames per second (the number was about 48), and (2) no opportunity for audience viewing. Lumiere set about building a camera, and a projector (called a cinematograph). Lumiere film was 35-mm wide and had just one round hole on either side of the frame ; the holes were spaced 20 mm apart. The Lumiere machines and film represented excellent mechanical design, and in the earlier versions utilized a film strip 17 meters long rather than the Edison length of 40 ft. Progress was made very rapidly; in the autumn of 1896 a Lumiere projector introduced in the United States by a Mr. Hurd, agent for the Lumieres, projected a picture 22 by 16 ft.