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The cold, unsympathetic audience before which they all must "do their stuff" — the motion-picture camera.
Action — showing the length of film taken by a movement.
FROM "FADE-IN" TO "FADE-OUT"
PROJECTION
In the theater, the pictures are projected upon the screen with the aid of a powerful light, a system of lenses and a mechanism for moving the film at the rate of sixteen pictures per second. At one instant a scene is upon the screen; at the next the screen is dark while the film is being moved so as to exhibit the next picture; but thanks to the inability of our eyes to work so quickly, the pictures melt one into the other and really seem to move.
Simple though the theory may seem, the steady, flickerless picture of today is the result of inventive ingenuity and mechanical skill of the highest order; many minds have contributed to the result. The magnitude of the problems that had to be overcome may be sensed when we realize that each picture or "frame," as it is called, in the film, measures three-fourths of an inch in height and one inch in width. Every defect in the film or mechanism of camera or projector is magnified on the screen to the same degree as the picture itself.
TAKING THE PICTURE The motion-picture camera is a very elaborate affair as compared with the ordinary Kodak. As the exposures are from l/25th to l/50th of a second, and as the pictures must sometimes be taken with poor light, the lens must be exceedingly rapid. The device for moving the film is so arranged that sixteen exposures will be made for each two turns of the crank; a "trick movement" is also provided which makes one exposure for each turn of the crank. The average camera will accommodate 400 feet of film. Devices for determining direction, vision field and film are essential.
A sub-title strip.
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