American cinematographer (Jan-Dec 1940)

SOL POLITO TAKES BOW FOR REPORTER'S AWARD SOL POLITO, A.S.C., took the award for the best photographed picture released during the month of July. That was Warner Brothers' "Sea Hawk," which also received honors from the correspondents for being the best picture and, meaning another bow for Michael Curtiz, for being the best directed subject. A fourth first honor also went to the story of the sea, that for the best musical score, Erich Wolfgang Komgold's. Two other players of Warners' also took along a bouquet for "They Drive by Night." These were Ida Lupino for her superb performance as the best supporting actress, a scant five minutes' work as a witness in a murder trial that may in the minds of many linger for years, and Humphrey Bogart for the best supporting actor performance. Greer Garson, for her first appearance since "Good By, Mr. Chips," was given the nod for best actress performance in "Pride and Prejudice," MGM. Brian Aherne for the best actor performance was similarly honored for his work in Columbia's "The Lady in Question." Among others honored were Preston Sturges for his screenplay of Paramount's "Great McGinty"; Curt Bois for best incident performance in "Lady in Question"; Universal's "Boys from Syracuse" for best original song; MGM's best general feature, "Gold Rush Maisie." longer showing without interruption. It is a good idea to splice black leaders on the end of each reel to give you time to shut off the lamp at the end of the film. When the black film enters the gate, you can turn on the other projector before shutting off the first machine, and the audience will be unaware of the switchover. If the splices are properly made, there should be no interruptions of projection. Your audience will always appreciate a continuous performance if their interest in the picture is not broken. Your projection technique should be of a high standard and your home theater as comfortable as possible. Use Vaporate Treatment Your film is your only record of trips, events, scenarios or family life, and with the proper care it will last for an indefinite period of time. Finger marks, oil, water spots or abrasions tend to shorten film life and make it undesirable for presentations. The constant projection of film subjects it to oil spray and dust from the projector. This collection of residue produces smudges and blots on the screen in an unpleasant way and will create scratches that can never be removed. The best insurance for film life is the Peerless Vaporate treatment, w^hich toughens the emulsion and base without losing the pliability which is so necessary to film. The film is placed in large tanks and hermetically sealed. Then the air is withdrawn, removing all excess moisture from the film pores. Chemical vapors are introduced to the chambers which replaces this moisture and fills the pores, penetrating the film completely. As Kodachrome contains thicker emulsion, it contains more moisture than regular panchromatic film and this treatment is especially recommended for it. The colors in it are not affected and splices do not suffer in any way. Due to the low insurance rate of this treatment, it is strongly recommended for your treasured films and the longer span of film life will amply compensate the low cost for vaporating. The most essential part of film life is cleanliness. Only the finest film cleaning solutions should be used, as regular solvents contain light traces of oil which penetrate the emulsion. A heavy velvet cloth is dampened with film solution and the film passed through it. Place the reels on the rewind posts of your editing board and clean each reel of your library. Don't Pull Film Tight Do not place too much pressure against the film as you may cinch it on the takeup reel, cracking or scratching the surface of the emulsion. Loosely wound reels should only be rewound on the editing board and not by pulling the film tight on the reel. Film surface should be handled in the same manner as gelatin filters, not to be touched by the hands unless you are wearing clean cotton gloves. This is very necessary in the care of Kodachrome, as it is not advisable to use cleaning solution on this film. The solution will remove part of the dye coloring in the film and spoil the rendition of color values. Hence, if Kodachrome becomes dirty, you are unable to cleanse it as thoroughly as panchromatic film. However, it is well to examine the projector gate also, and clean it with a small brush. The claw often throws oil on film in the projector and excess oil should be drawn up vdth pieces of blotter. Periodically clean the optical system of the projector with lens or film cleaner for the utmost efficiency of the lamp. The draft fan collects dust very fast, cutting down the force of the draft for cooling the lamp. Insufficient draft on a lamp will greatly shorten its life. Projectors have as big a job to do as your camera and should be given the same respectful care and consideration. Clean projectors cannot make dirty films. It is not necessary to keep film humidified if they are not to be used for any Just Delayed IN our August issue at the end of John W. Boyle's (A.S.C.) story of his experiences abroad last year we stated we would print in the September issue a second installment describing his interesting stay in India. We meant to do that. Mr. Boyle has been so busy during the past month, however, he is obliged to delay its preparation. But we will have it in good time when the pressure lets up. great length of time. All film, of course, must be kept in containers to protect them from dust, but constant humidification is of no consequence. But it is necessary, if film has been stored for some time, to humidify them about three hours before projecting them. This short exposure to dampness is sufficient for the average film to regain its elasticity for the projector. Never place Kodachrome in a damp place or attempt to humidify it. The danger of ruining it is too great, and for this reason the containers for reels have had the blotters removed from them to prevent humidification of color film. New York Fair Honors Movie Greats of Alien Birth Frank Capra, Lynn Fontanne, Charles Chaplin, Walter Huston and Claudette Colbert are among the theatre and movie "greats" chosen for the Wall of Honor at the American Common of the New York World's Fair. The Wall of Honor is restricted to those persons of foreign birth and subsequent American citizenship who, through their efforts, added importantly to this country's greatness in the arts, science and industry. Capra's country of birth was Italy, Chaplin and Miss Fontanne are natives of England, Miss Colbert was born in France, and Walter Huston came to this country from Canada. Three other motion picture producers and directors were chosen : Carl Laemmle and Ernst Lubitsch, Germany, and Samuel Goldwyn, Poland. May Robson, Australia; Mary Pickford, Canada, and Marlene Dietrich, Germany, are among the motion picture actresses, and Jean Hersholt, Denmark; Paul Muni, Austria, and Edward G. Robinson, Roumania, among the actors. American Cinematographer • September, 1940 405