American cinematographer (Jan-Dec 1926)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




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.

Sixteen AMERICAN CINEMATOGRAPHER September, 1926 Vitaphone (Continued from Page in) "He is surrounded by dials whereby he can tell just what the vocal actions of the artists are. He is also attended by a large horn, about five feet square, in which he listens for any foreign noices. The microphones are so sensitive that he can detect if anybody on the set makes the least noise, such as walking, whispering or even the flickering of a light. If such are recorded, then the record is ruined. A flicker of a light sounds out like a pistol shot. This makes for a severe test on the lights. A number runs about ten minutes, or between 900 and 1000 feet. On some sets I have to use big storage batteries, weighing about 400 pounds each; seven of them are required to run a G. E. light of 150 amps. I use batteries to avoid generator noise. On the same lights, we had the gears changed from metal to fiber in order to eliminate gear noise on the automatic feed light. Adapted Camera "Since ! beginning this work," Du Par states, "I have almost remodelled my camera. I use 1000-foot magazines, high-speed shutter, leather belt, special clutches on the take-up spool, and a light signal built right in the camera. "There is somewhat of a difference in photographing motion picture and then grand opera stars. In the past several weeks I have filmed Mischa Elman, violinist; Efrem Zimbalist, violinist; Harold Bauer, pianist; Giovanni Martinelli, tenor; Marion Talley, and the New York Philharmonic Orchestra of 100 pieces. "A strange incident occurred when we were taking 'Swaunee River.' Everything was still, and I had just received the signal to start; I flashed back the signal that I was fading in and everything was going nicely when I noticed frantic signals to stop. Looking out the peek-hole, I saw that every one was exceedingly excited. The cause, I learned, had been the screams of a colored janitress who claimed that she had seen the late Oscar Hammerstein walking across the balcony. It was eleven o'clock in the morning, and it is said that it was his old custom to walk across the balcony at that time in the old Manhattan Opera House which we were using to work in. This was the third time that the janitor's force had claimed seeing Mr. Hammerstein, and of course the commotion ruined that shot." Amateur Cinematography (Continued from Page 12) projection outfit was employed by the MacMillan expedition to exhibit pictures to the Eskimos. The De Vry projector will be used as a part of the de luxe equipment of the "landcruiser" trains of the Raymond Whitcomb Company. New Attachment For Slow Motion The Eastman Kodak Company is marketing a device whereby slow motion pictures may be made with the CineKodak A, f, 1. 9. Different Rates The regular crank is removed and a four to one gear ratio crank is substituted. With the turning of the crank at the rate of two turns per second, with the result that the finished picture is slowed down proportionately. "Sea-Going" Cameras (Continued from Page 8) "A low-powered broadcasting set, operated by batteries, was set up at a vantage point near the director whereever worked. During the weeks required to do the battle stuff, everything was controlled by radio. At times as many as twenty receiving sets were used. "Movement on more than a dozen fighting ships and as many tugs, action at the fort, instruction to cinematographers on the hill getting long shots, cinematographers on board the ships getting closeups, were controlled from Mr. Cruze's microphone. "Operators at the receiving sets signified that they had received the message by the wave of a flag or the toot of a whistle. The electricians were able to move the broadcasting outfit to a ship, barge, side of a cliff — in fact, any place the director wished — almost as quickly as the cameras could be moved and set up. Having seen the enormous possibility of this form of communication while serving on sub-chasers during the war, I suggested the use of radio to the director while we were preparing the picture, and fortunately for all concerned the suggestion was carried out."