American cinematographer (Nov 1921-Jan 1922)

4 THE AMERICAN CINEMATOGRAPHER January 1, 1922 In Camerafornia Georges Benoit. A. S. C, filmer of "The Rubaiyat," is now at work on "The Masquerader," at Brunton Studio, a Richard Walton Tully production under direction of James Young. Mr. Benoit's masterpiece, "The Rubaiyat. " may not be seen on the screen for some time, as the picture has not been cut owing to differences in the company. In "The Rubaiyat" Mr. Benoit made forty-nine different exposures in one scene, producing a wonderful effect. Members of the American Society of Cinematographers are always glad to answer questions appertaining to motion picture photography. If, therefore, you desire to be enlightened on any point don't hesitate to send your inquiry to The American Cinematocrapher and the answer will be forthcoming in a subsequent issue. If clairvoyance is not to be disregarded as a method of research The American Cinematocrapher has traced the beginnings of photography as far back as 75,000 years ago when the continent of Atlantis was at the height of its glory. Theosophical records carry back much further, but the only reference to photography The American Cinematocrapher can find anywhere is in the clairvoyant record quoted in the issue of December 1. Theosophical historical records mention 75,000 B. C. as about the time of the first Atlantean cataclysm and 9,000 B. C. as the final breaking up of Poseidonis. Philip E. Rosen, life member of the A. S. C, was recently , initiated as a member of the Motion Picture Director's Association. "The Log of a Great Picture" will be continued in the January 15 issue of The American Cinematocrapher and concluded in the issue of February 1. Sorry for the delay, but it couldn't be helped. The Finishing Touch The success of a cameraman depends largely upon the treatment his negatives receive in the dark room and co-operation is highly essential to insure the best photographic values. Regardless of how beautiful the cameraman's lightings may be or what tonal qualities the sets may possess, the negative is not completed until it is put through the laboratory process. Then there are many times when the cameraman bumps up against some unavoidable and adverse conditions of lighting and again the laboratory, if properly advised, is in a position to be of valuable assistance. If the cameraman can work out a system of thorough co-operation with his laboratory man, whereby he is enabled to keep in personal touch with the man who actually does the developing, a much more harmonious result is obtained. To this extent Messrs. Crouse and Davidge have been particularly successful in aiding the cameraman to secure a high degree of perfection. The wellequipped and conveniently located laboratory, at 1511 Cahuenga avenue, is especially fitted to handle negative developing and sample print work. Mr. Roy Davidge, who develops every foot of negative film taken into the plant, is well known to the trade, by reason of his many years at this line of work. After careful study, Mr. Davidge has reduced granulation to a minimum and produces a consistent negative with due attention to color value graduations, and of a quality most generally suited to the needs of the releasing laboratory. Crouse and. Davidge have handled many notable works of A. S. C. cameramen during the past three years, among them: Rene Guissart, Gus Peterson, S. S. Norton. H. L. Broening, Georges Benoit, Chester Lyons, George Rizard and others. The following productions have passed through the Cronse and Davidge developers: "The Lying Truth," a Marion Fairfax Picture; "A Mysterious Rider," "The Gray Dawn," "Wildfire" and about six others from the B. B. Hampton studio; ten of Charles Ray's pictures, Allen llolubar's "Man. Woman, Marriage"; Allan Dwan's "A Perfect Crime," "A Broken Doll"; Pauline Fredericks in "The Mistress <>l Shenstone"; "Judith of Blue Ridge Range," "The Lure of Jade." "The Sting of the Lash"; Ferdinand Earle's "The Rubaiyat of Omar Khayyam"; R. A. Walsh"s "Kindred of the Dust"; Mme. Nazimova's "The Doll's House" and many other contributions to the cinematographic art. Eastman stock is used exclusively. BALL TICKETS IF YOU WANT TICKETS TO THE THIRD ANNUAL GRAND BALL OF THE A.S. C. YOU'LL HAVE TO HURRY ! THE DATE IS SATURDAY NIGHT FEBRUARY FOURTH 1922. THE PLACE IS THE GRAND BALL ROOM OF THE AMBASSADOR HOTEL. BUY TICKETS FROM ANY CAMERAMAN OR AT INFORMATION DESK AMBASSADOR HOTEL OR AT 325 MARKHAM BLDG. HOLLYWOOD. FOR FURTHER INFORMATION CALL HOLLY 4404 ! REMEMBER— THE A.S.C. BALL IS THE EVENT DE LUXE OF THE YEAR IN MOTION PICTURE CIRCLES. THIS YEAR IT WILL BE A WONDER!