American cinematographer (Feb-Dec 1922)

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6 THE AMERICAN CINEMATOGRAPHER February 1, 1922 Color in Film 'J'HE use of color on films is not a fad. There are substantial and permanent reasons for it. The human eye is attuned to the colors of nature, which hardly ever shows a picture in pure black and white. The nearer we can come to nature's colors in the movies, the easier and the more satisfying we make it for those who view them. Numberless attempts have been made to fill this longfelt want, but, generally, the results have been either too crude or too costly. The ideal remains, however, and it is gratifying to note the progress recently made by the Kosmos Film Laboratories, at 4811 Fountain Avenue, Hollywood. They use the processes of Dr. E. R. Walters, a scientific expert in color chemistry and optics, and are applying them in a way that opens a new world of color to the motion picture industry. Going far beyond the old-time limitations of tone, they are showing results whose variety and beauty are startling. One of the most cheering items for the motion picture producer is the announcement that these color effects are comparatively inexpensive and can be turned out very rapidly in any combinations of color that may be desired. Different color solutions are used at the Kosmos Laboratories in such succession and under such conditions of strength, temperature and time as to produce not only an endless variety of single tones but also double tones and triple tones of marvelous beauty. Among the results shown are color changing effects of startling fidelity and smooth graduation. In like manner, most attractive results have been obtained from the application of the process to interiors of every kind. The elasticity of the process has particularly impressed those who have seen the pictures so colored. L. Foqel— Fine Tailor FOR WELL DRESSED MEN AND WOMEN 6656!/2 Hollywood Boulevard Phone 579-558 j . + To Our Subscribers Our RUMMYDUMS have been delayed because of the failure of material to arrive from Italy, but we hope to have them in the mails not later than February 7, and in the meantime we are very grateful to you for so patiently awaiting them. The American Cinematographer. oArt vs. Commercialism (Continued from Page 4) by man, although appearance will never make a picture if the story lacks in interest or is faulty in direction. It is then one of the duties of the cinematographer always to keep present in his mind that his work, to have a real commercial value, must be in accordance with the story, enhance the story telling qualities of the production and not distract from them as happens unfortunately much too often. No producer is now-a-days fool enough to squander money and take a chance on a probable loss for the mere satisfaction of turning out a beautiful picture and no one is narrow minded enough to refuse to acknowledge the importance of the artistic appearance of a picture. It is then up to you, cinematographer, to find enough courage to somewhat sacrifice your art, if the sacrifice is to enhance the selling power of the production, as well as it is your duty to display your artistic ability whenever you find an opportunity to do so within the limits of time and expenditure appointed by the producer. In other words prove that you can combine ART and BUSINESS and no producer will ever say that he wants to make MONEY and not ART; no producer will lose money in trying to confine to ART the selling power of a production and you will get what we are all striving for— CREDIT for your work; RECOGNITION of your ability and the moral and material returns we all expect to draw as a compensation for our efforts. + MOVIES STILLS