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he carefully cleaned to permit making tests to determine the progress made.
It is really incredible to one accustomed to treating lenses with the utmost care, to see this clean-up done. The grinding-tool is lifted out of the wav. Then the workmen, in coveralls and special soft-soled rubber boots, step down onto the surface of the lens itself, and, with a long-handled floor-cleaning mop, spread the rouge uniformly all over the surface. When this is done, a hose is turned on the lens, and the rouge is carefully washed off. Finally, the lens is dried, usually by two or three workmen who tenderly swab it off with big cheesecloth bath-towels. As this is done, the lens is tilted on its carriage, so that the surplus water drains off.
Testing is another interesting operation. After each grinding, the lens (cleaned, of course) is tested visually through a Foucalt knife-edge. This instrument gives a visual measure of the smoothness of the surface. It is uncanny to look through it at the surface of the lens which, to the naked eye is already becoming an amazingly perfectly polished piece of glass, and to see that beautifully smooth surface magnified until it seems as rough and pitted as the surface of the moon! Incidentally, when making these tests, the ventilating system in the room must be turned off, for even the gentle movement it produces as the room’s air is circulated is enough to make this magnified image dance as though in the midst of a hurricane.
Uses Largest Dolly For many scenes in our film we used what is probably the largest camera-crane ever used for either 16mm. or 35mm. filming. To handle the vast weight of the lens and the various massive tools, a 50-ton travelling crane moves up and down the middle of the shop. Mounting a little 16mm. camera on this massive crane seemed rather ridiculous at first but it enabled us to get the most revealing angles, and to position the camera with unusual accuracy.
All told, in slightly over two months of filming, we have exposed over 3,000 feet of 16mm. Supreme negative. \\ e are now' in the process of cutting this down to release length one 400-foot reel. A narrative sound-track will lie added to this, and the film will be released through Bell & Howell's 16mm. school-film service in two versions, as a sound film and as a silent. As such, it will he, I believe, one of the first educational films made from the start as a 16mm. negative-film production. Photographically, at least, I feel it will he successful, judging by the appearance of our rushes when, projecting them recently to gain the benefit of Bell & Howell educational film expert Walter Evans’ invaluable counsel, we ran the film on Bell & Howell’s 12-foot auditorium screen. Thanks to Agfa Supreme negative and to the cooperation of Mr. Deahoff, the picture will also give a most convincing answer to the people who ask whether or not 16mm. negative is practical. It is — when it is Agfa Supreme, hacked by the painstaking laboratory service this picture has received.
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