We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
ing a bit of news we recently picked up. That is that the Technical Awards Committee is understood to have put itself on record as recommending that the Award for outstanding specialeffects cinematography be removed from the category of the Special Awards, to he given or witheld at the discretion of the Committee, and made a regular Award.
That same thought inspired a comment in these pages two months ago. We tried to point out that modern special-process cinematography has come to contribute so much to the technical, artistic and economic success of virtually every production that it deserves regular, rather than merely optional recognition. We re glad to see we weren’t alone in our opinion.
'"pHE recent announcement of a commercially available process for treating lenses to eliminate surface reflections is one of the most important advances made in many years. Cinematographers who have used the treated lenses tell us the treatment increases effective speed by one full stop, while markedly improving depth and definition.
When coupled with the use of today’s modern, high-speed negative emulsions, such as Agfa Supreme, this development bids fair to revolutionize studio cinematography and lighting methods. Certainly it should reduce illumination levels to an extent never before possible.
* * *
W7 E wonder how many of our vv readers realize that there are not less than two theatres in the Hollywood-Beverly Hills region which as a
regular policy show 16mm. movies along with their regular 35mm. bills? Some of these films have been commercial or educational subjects made directly in 16mm. Others have been 16mm. reductions of noteworthy foreign-made documentary short-subjects which have never been brought into this country in their original 35mm. form, as they have been deemed more suited to educational than to theatrical release. One theatre, even, has at times utilized a publicity tie-up with an amateur movie magazine and obtained noteworthy 16mm. amateur films as special added attractions.
The point is that with modern 16mm. film and projection, the audience cannot tell the difference between 35mm. and 16mm. on the screen.
There are countless small-town theatres which could be reopened and made profitable if they could utilize the lowered equipment, transportation and operating costs of modern 16mm. Countless other hamlets that now have no theatres could support 16mm.equipped houses.
Once started, theatrical production direct in 16mm. might logically follow. We’ll admit technical considerations until recently have seemed to rule this idea out. But during the last few months we have been privileged to screen several excellent productions photographed directly on Agfa Supreme 16mm. negative film, recorded on modern 16mm. recorders, and processed by truly professional, modern fine-grain machine methods. They proved a revelation in quality. We can recommend them as eye-openers to any of our readers who still look askance at 16mm.
4