American cinematographer (Feb-July 1936)

310 American Cinematographer e July, 1936 HERE'S HOW By A.S.C. Members It in m SLITTER A small hand machine of extreme accuracy. Hardened and ground steel cutting wheels — operation very simple, just draw film thru to slit to exact 8mm width. Includes high contrast developer formula for titles. Price $4.50 postpaid if your local dealer does not carry in stock. Positive film for titles, 16mm double perforated for use in double 8mm cameras, $1.00 per 25-foot roll. Includes later free development and return. Same film, no development, 55c per roll. Postpaid Ohio orders add 3% sales tax. J. C. HAILE & SONS Motion Picture Department 215 Walnut St. Cincinnati, Ohio Announcing KIX-O-M \ No. 3 Super Sensitive "PAX" REVERSAL FILM Representing an ultimate, present-day perfection. Kin-O-Lux No. 3 (in Lavender Box) is so exceedingly well balanced for yellow, red and green rays, that it enables one to dispense with the use of a green filter. This film is exceedingly fine grain and has a speed of 26° Schemer outdoors and 28° in artificial light. 100 ft., $6.00 50 ft., $3.50 Each roll is Processed and Scratchproofed Free of Charge For further information, send for Booklet "D" KIN-O-LUX, Inc. 105 West 40th Street New York Eliminate Guesswork View along the optical axis of your 16mm Camera lens. 16mm OPTIAX VIEWER Has standard lens thread $12.50 Know the exact number of Frames exposed and wound back. For accurate Double and Multiple Exposure work. SINGLE-FRAME COUNTER Fits All Victor $12.50 No Fitting Models Required At your dealer or write to ART WOLFF 159 N. State Street Room 900 CHICACO, ILLINOIS CRAIG SPLICER and REWINDS CRAIC |UNIOR COMBINATION $8.50 Junior Splicer with two geared rewinds all mounted on 21" board. CRAIC MOVIE SUPPLY CO. 1053 So. Olive St. Los Angeles, Cal. In the July, 1935 issue of American Cinematographer, on pages 306 and 316 there is an article on "Home Reversal Development of Movie Film." I would like to have a little information on the part appearing on page 316 covering "Printing Method." 1. You state there that only same exposure is needed when using positive as is used when using pati film. I do not find this true unless there's something I do wrong because I get a very dark picture as though under-exposed. Should not one or two stops more be used when using regular positive stock? 2. Also in event of under-exposed film, what one of the processes will take care of this? On an under-exposure should the films be left in the first development longer or shorter, or should it be kept under the flashing light longer or shorter, or should the last development time be varied? 3. Also as to the D-76 Developer, should this be used full strength on the first development and for how long? 4. I also find that the emulsion side of the film has a sort of brownish cast to it when completed. Is this caused by the acid-stop-bath or what? And how can it be eliminated? — R. J. Daughterty. In your question No. 1 you say that our article states that same exposure can be used on positive as is used for pan film. If you will read further, you will notice that it says "when you have blue light." This, of course, is true because the basic sensitivity of all film is in the blue. In other words, the silver grains are sensitive to blue only and all film must have the silver in the emulsion, so if you used pan film and had only blue light it would not be any faster under those conditions than positive film. If you have any shadows in your picture it is natural that positive film will go very dark as there is very little blue light in shadows. Also if you have a green background, the green will go dark. Shoot positive film about two stops wider open than pan. Question No. 2: When your film is under-exposed it is better to carry it a little further in the first development. Your greatest control is in the first development. Question No. 3: Use the D-76 Developer full strength in the first development. The length of time is going to be controlled by the exposure you gave the film in your camera as explained in the answer to your question No. 2. Question No. 4: The reason you are getting q brownish cast on your emulsion side is that you do not wash the film long enough after taking it out of your acidstop-bath. Each washing operation should be not less than five minutes in water that is flowing vigorously. —A.S.C. During the past several years I have printed 16mm pictures for a very good customer of this laboratory. I have used Dupont 16mm positive film for these prints. Sometime ago this customer notified me that my prints wouldn't feed well through their R.C.A. sound projectors. An investigation showed that the developed film was of much different size than undeveloped material, due to expansion during development and shrinking during the drying process. The next order was handled with great care, especially in the removing of excess water from the film previous to drying, and during the drying time. I projected every one of the prints in my Filmo projector and they went through all right, but again the customer complained that the prints gave them trouble in the projector. I tried a Chrome alum stop bath recommended by Dupont, but it did not seem to remedy the condition according to the report from my customer. I have exhausted all experimentation possibilities ; can you suggest any remedy for me. — A. Manrique . It would not be fair to say that any one brand of safety film will stretch or shrink more than another. According to reports we have received from reliable laboratories making 16mm positive prints it would seem that it is reasonable to expect the film to stretch to such an extent that the distance between perforations is .304". As you know the distance between the sprocket holes in 16mm film is .300". We have heard of