British Kinematography (1951)

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3U BRITISH KINEMATOGRAPHY Vol. 18, No. 1 fn sensitometry. Determination of colour sensi Latent image fading. Positive developer control tivity of an emulsion. problems. Developer replenishes. Relating sen April 9, 1951, and April 16, 1951. — " The lib sitometer and printer. Printer gamma and Sensitometer applied to Laboratory Control response. Long-term control in minimizing Work." process drift. Comparative tests on negative material. Control The British Kinematograph Society desires to of typical negative developers. Problems en express its appreciation to Messrs. Kay (West End) countered in master and dupe printing. Grading Laboratories for their courtesy in permitting these negatives. Comparative tests on -positive stocks. lectures to be given at Movietone House. TECHNICAL ABSTRACTS Most of the periodicals here abstracted can be seen in the Society's Library THE BIRTH OF KINEMATOGRAPHY Ideal Kinema, May, 1950, p. 25. Following reference to the paper by the present abstractor on the work of Friese-Greene {Brit. Kine., 16, No. 5, May, 1950, p. 156), a decision of an American court is quoted, denying claims made on behalf of Edison as the inventor of kinematography. R H C A METHOD AND APPARATUS FOR TESTING THE DEVELOPMENT PROCESS L. Busch, Foto-Kxno-Technxk , May, 1950, p. 150. In a system of sensitometric control, a simple pendulum sensitometer impresses two exposures on a strip of him. The densities of the two images are ultimately scanned by twin photo-cells in a desitometer, which reads off the differential as a contrast value. G. I. P. L. SURVEY OF HIGH-SPEED MOTION PICTURE PHOTOGRAPHY K. Shaftan, /. Soc. Mot. Pic. &> Telev. Eng., May, 1950, p. 603. A survey of high-speed motion picture practices was conducted by the Society in 1949. The data collected are presented here, with a review of comments submitted by users of high-speed techniques and equipment. Conclusions are drawn by the author regarding the current availability of such information and also the scope of the survey is commented upon. Recommendations are made concerning the future of photographic instrumentation and the role of the Society in this expanding field. Author's Abstract. PRINTING EXPOSURE DETERMINATION BY PHOTO-ELECTRIC METHODS L. E. Varden and P. Krause, American Annual of Photography, 1950. Following a review of past work on the automati control of printing exposure, three principles are considered : photometer measurements of selected density areas ; integration systems without coding ; and integration systems with coding, in the last the photometric integration being modified by a coding indicating the density distribution in the image. R H C 50% ECONOMY IN PRINTING COSTS R. Colas, Film Francais, Spring 1950, p. 86. A normal 35 mm. film base carries two sets of picture frames, each frame 12 mm. x 9 mm., and two sound tracks. In the first projection alternate frames and one sound track are reproduced ; the film is then re-threaded without rewinding, and the second set of frames and the second track reproduced. R H C OPTICOLOR PROCESS OF COLOUR KINEMATOGRAPHY G. Lechesne, Tech. Cine., April, 1950, p. 95. In the revived Opticolor process, the negative carries trichromatic sets, each separation image occupying a normal frame, and the negative thus travelling at three times normal speed. It is printed upon a lenticular positive. In the camera developed for the process, a beam-splitter optical system is used, with variable-focus objectives. The reflex viewing system employs a polished spherical face on the shutter. R. H. C. PHOTOGRAPHIC SOUND RECORDING ON 16 mm. FILM N. Leevers, Sound Recording, 3, No. 6, 1950, p. 120. The photographic factors governing 16 mm. recording technique are described in some detail, and recording procedures for direct positive, neg-pos, reversal, and Kodachrome outlined and compared. Author's Abstract. SOUND RECORDING IN FRENCH FILM PRODUCTION Le Technicien du Film, 2, No. 6, 1950, p. 9. A committee appointed by the Commission Superieure Technique reports on a number of faults in French