American cinematographer (Jan-Dec 1932)

December 1932 • American Cinematographer 41 16MM SAFETY FILM Negative Positive System The system used by the professional cameramen of Hollywood. Semi-Chromatic, Daylight loading $3.75 100 Ft. Dupont Panchromatic Negative Non-Halation $5.50 100 Ft. This price includes Free processing with a negative and a positive print on plain or tinted base stock. Send for Particulars STRAUBE FILM LABORATORY 731 1 2 S. Ferris Ave., Los Angeles, Calif. Forerunners of Amateur Film Continued from Page 25 bulky and expensive camera, they led the victorious march of substandard film. Very soon after the introduction of their original Model "A", they offered far more improved apparatus. (EDITOR'S NOTE: 16 mm. apparatus was actually introduced almost, if not quite simultaneously by the Kodak Co., Bell & Howell and Victor. Mr. George Beyer of the Victor Animatograph Co. has, in fact, informed us that Dr. Victor's first 16 mm. "Animatograph" antedated the Cine Kodak by several months. This first "Animatograph" was a redesign of a previous 1 7 V2 mm. model, and was box-form, handdriven, with a fixed-focus f:5.6 lens. At any rate, it is incontrovertible that the Cine Kodak, the Filmo and the Victor were the first 16 mm. cameras, and appeared so close together in 1923-24 that it is very difficult to definitely state which was the first.) In 1926, when the 16 mm. Cine Kodak size had already conquered considerable ground, Pathe reappeared with a new film, called the "Rural." It is 1 7 Vz mm. wide and makes an especially economical use of the film surface. This film maintains a monopoly in the French educational system. But there is still no standstill — and if any of us thought that 16 mm. would prove the final standard for amateur cinematography, we were badly mistaken. Several years ago the Kodel Electric and Manufacturing Co., a large radio concern in Cincinnati, Ohio, produced an apparatus using 16 mm. film, but which quarters the film, thereby saving approximately 75%. The mechanical movement of the camera and projector not only move the film vertically, but horizontally as well. (EDITOR'S NOTE: For a complete description of the Kodel system, see THE AMERICAN CINEMATOGRAPHER, November, 1929; also Vol. I, CINEMATOGRAPHIC ANNUAL. This system, while extremely interesting in theory, appears to have lapsed into desuetude due to numerous technical deficiencies.) Strange as it seems, the Kodak Co. has recently taken a somewhat similar step — and gone even further. They offer now an 8 mm. film which is obtained by splitting the 16 mm. film in the middle, after the exposure. During the exposure only one half of the 16 mm. film is exposed; after the film has gone through the camera once, it is turned over and the other half exposed. After processing, the 16 mm. film strip is cut lengthwise, and spliced end-to-end, creating an 8 mm. film strip perforated on only one side. This 16 mm. film, however, has twice the number of perforations that ordinary film has. It is a strange coincidence: the first narrow film for the amateur was made by dividing standard film — and now after nearly four decades the 16 mm. film which has conquered the world is itself divided to form a new amateur standard. This has been made commercially and technically possible, however, only as a result of far-reaching progress in photo-chemistry, optics and cinemechanics. The 8 mm. image does not show any grain, is perfectly sharp, and the projection as steady as the standard 35 mm. film. As we have seen, substandard film is still in a state of flux. Our space has permitted the mention of only a few of the more outstanding narrow-film systems which have actually matured, without digressing to consider the many others which have never progressed beyond the stage of discussions, patents or experiments. However, substandard film is definitely here, for both the amateur and the professional. Regardless of any future developments, its present importance cannot be doubted, its future is unquestionably secure. NEXT MONTH .... The use of 16 mm. in the schools by Miss Evans, head of San Diego, visual education dept. Exceptionally low priced AMATEURS! This is Your STEP PRINTER "Arri 16" Advanced in design. High quality work. Safe — Smooth — Perfect Contact Always. Portable. F. REICHEL 3915 W. 3rd St., Hollywood, Calif. MEYER LENSES WIDE ANCLE Ideal for indoor night photography or conditions of poor light these lenses combine wide angle with extreme speed and cover 1 60% greater field than a 1" lens Furnished in focusing mount calibrated from 1 1/2 foot to infinity. When revolving turret cameras, it is not necessary to revolve lens. Kino-Plasmat f/1.5 — 1 5mm. ..$60.00 Trioplan f /2.8, 15mm 36.00 Ditto, but fixed focus 30.00 TELEPHOTO The cinematographer who appreciates the advantages of Telephoto lenses in Travel Sport and closeup work unhesitatingly indorses the excellent quality of Meyer Telephoto Lenses. These make clean-cut. sharply defined pictures depicting each distant feature clearly and are noteworthy for the compactness of their precision micrometer focusing mounts. $45 up. Tele-Megor f /f — 3", 4", 6", 9". Trioplan f /9 — 2", 3", 4". Literature gladly sent on request. Hugo Meyer fir Co., 245 West 55th Street New York Works: Coerlitx, Cermany