American cinematographer (Jan-Dec 1926)

Twelve AMERICAN CINE MAT OGRAPHER June, 1926 A lUid-'L|ear Cinematographic Reuieuj President of A. S. C. Writes on Important Advances During Last Twelve Months Daniel B. Clarke A. S. C. Takes Stock of Progressive Steps since Last 'Directors' Number' of Film Daily (The following story was written by Daniel B. Clark, president of the American Society of Cinematographers, for the "Directors' Number" of the Film Daily.) It is an unusual twelvemonth indeed that does not bring about an abundant measure of progress in the world of cinematography. Such progress is stimulated not only by the interest of the cinematographer himself in his work, but is substantially brought about by the wishes and demands of the director who is an exponent of things progressive in the field of motion photography. Director's Encouragement A director may want a new bit of treatment, either for a novel result or for the same result produced in a different fashion, and it remains for the cinematographer to fill the order. Thus have many improvements been introduced in cinematography. The year that has passed since the appearance of the last "Directors' Number" of the Film Daily has contributed its share toward the general photographic advancement of the industry, records of the American Society of Cinematographers show. Small Cameras Unusual activity has been manifested in the matter of small motion picture cameras of the "amateur" variety. While these instruments have been designed primarily for the wide usage of the novice, they have found their way to the professional motion picture studios. Naturally, the small cameras which do not use the standard size of film are not so adaptable for professional use where the standard negative is imperative. But a portable camera such as the "Eyemo," which is a development of the Bell and Howell company, has been widely adopted for use among recognized cinematographers. Where heretofore, on some precipitous location or in exceedingly close quarters, the director had to forego his desire for an intimate shot of the action because of the size of the regular professional camera, the cinematographer now utilizes his small portable camera with results that are the joy of all concerned, A. S. C. Member's Invention Another development which is meeting with marked interest among cinematographers is the invention of John W. Boyle, a member of the American Society of Cinematographers. Mr. Boyle has created an adapter whereby a regular standard camera head may be mounted, in a vertical tandem position, atop a camera of the Akeley type, the two being operated at the same time. The arrangement makes possible a "close-up" and "longshot" of the same subject of action — a matter which has intrigued the film production imagination for some time. "Talking" Films Since the Edison days in motion pictures, "talking" films have commanded perennial attention. Aside from the continuation of experiments on the already acknowledged species of cinema in this line, the Triergon method was announced during the past year in this country, preceded, according to the statistics which were cited, by more or less exhaustive trial exhibitions in Germany. The most recent contribution to this subject is the activity of Warner Brothers. E. B. Du Par, a member of the A. S. C. and a cinematographer on the staff of the Warner studios, is at present in the East working on the latter invention. The matter of embodying speed into the negative through fast lenses and film has met with steady advancement during the past year. Panchromatic film is more popular than ever, and an "infra-red" stock, treated by Technicolor, has been used for special purposes. The actual taking speed of motion pictures, however, remains at a basis of sixty feet per minute, as re-affirmed by the American Society of Cinematographers and the Society of Motion Picture Engineers. Color In the color division of cinematography, Technicolor remains in the van. "The Black Pirate" is generally heralded as the best that has been done by this method. There seems to be little question in Hollywood that a new vista was opened in this work by virtue of the lighting and other methods employed by Henry Sharp, who was chief cinematographer on the Douglas Fairbanks production. -.