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A bJiic-rihhoii inJiistriaJ iiwtion picture and its jccoinpanying brochure tell the highly technical story of carbon black to the equally-shared benefit of science, the product's users and the sponsor . . .
THE service wliicii commercial film producers extend to their clients is necessarily broad and inclusive. Well-accustomed to painstaking research and lengthy merchandising surveys, the producer's staff acts as guide and interpreter to the user of the medium as well as fulfilling the actual productional assignment. The turning of the camera is often just a short final step carefidly taken in a direction marked after a year and more of finding the right way.
Such an assignment was undertaken in the production of a film for Godfrey L. Cabot, supplier of carbon black, a pigment used in a. wide variety of paints, lacquers and plastics, in quick-drying inks for modern high-speed presses and as a reinforcing agent which triples the strength and wearing quality
of rul)l)er — "saving a nation on wheels more than fifty million dollars a year in costs alone".
The story of carbon black is highly technical. It involves the physical determination and control of tiny particles too small to be seen even through the most powerful microscope. The customary way to tell such a story to technical men is by means of a scientific paper. This method has obvious limitations.
In view of the considerable amount of illustrative material required to present this story comprehensively and vividly, and in view of the need to show flames in action, Godfrey L. Cabot, Inc. decided to blaze a new trail in the exposition of a scientific subject. The result is Inside the Flame — a scientific paper presented
through the medium uj sound motion pictures and produced by Caravel Films, Inc.. New York City.
The story itself is fully told in an accompanying brochure. But its translation into motion pictures took more than a year of painstaking study and experimentation by Caravel technicians.
In order to obtain the shots of the flames in the hot-houses, a number of hoppers had to be cut away (thereby creating new problems in ventilation), flood-lights had to be placed underneath the framework, and the moving pictures had to be shot through Pyrex glass inserted in the walls of the hot-house.
This problem became immensely complicated when a close-up of the scraper (pictured under the Fore
de Films:
word in the booklet) was attempted. The camera had to be placed in a narrow alley between two hot-houses, and the camera man had to endure a temperature of about .SOO degrees while he captured this particular action picture. The tripod was badly blistered. The smell of ether gave warning that the emulsion on the film was in danger of melting and evaporating. And the blistering remarks from the camera man conveyed an unmistakable urgency for speed!
♦ The foreward to the beautifully illustrated brochure (which F. Burnham MacLeary of the Caravel staff wrote) is by the sjjonsor. Its summary sets an example foi' any business: "we present "hiside the Flame" . . . to be seen by all that may be benefited thereby."
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