Harrison's Reports (1930)

Entered as second-class matter January 4. 1921, at the post office at New York, New York, under the act of March 3, 1879. Harrison’S Reports Yearly Subscription Rates: United States $15.00 U. S. Insular Possessions. . 16.00 Canada, Alaska 16.00 Mexico, Spain, Cuba 16.00 Great Britain, New Zealand 16.00 Other Foreign Countries.. 17.50 35c a Copy 1440 BROADWAY New York, N. Y. A Motion Picture Reviewing Service by a Former Exhibitor Devoted Exclusively to the Interests of Exhibitors Its Editorial Policy: No Problem Too Big for Its Editorial Columns, if It is to Benefit the Exhibitor. Published Weekly by P. S. HARRISON Editor and Publisher Established July 1. 1919 Tel. : Pennsylvania 7649 Cable Address : Ilarreport ( Bentley Code) A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING Vol. XII SATURDAY, JANUARY 25, 1930 No. 4 COLOPv IN MOTION PICTURES— Second Article The fact that a moving picture is seen on the screen with colors does not in itself mean that it is entirely pleasing. Color, in order to have ail the desired effect, must comply with the following requirements : (1) It must reproduce accurately the following pure colors: (a) Red, Orange, Yellow, Green, Blue, V'iolet, and Purple, (b) Special secondary colors, such as Brown, Tan, and Flesh, (c) The neutral colors, Gray, Black and W'hite. In 'lie two-color Subtractive processes, Violet, Purple, clear Blue, Yellow and neutral Grays are generally missing. Such processes cannot, therefore, give full and continuing satisfaction to the color senses, although they have just now a certain commercial value on account of the fact that they can produce certain attractive effects. (2) The picture must be sharp in the close-ups ; the face expressions on the medium close-ups must be seen clearly, and there must be general sharpness in the long shots. There must be also an absence of color fringes or of fuzziness, such as, for example red or green edges on black or white objects. These are very undesirable. (3) Color must rentain steady: that is, it must not change, fluctuate or brighten and darken, in waves, as is the case in almost every picture so far released. In the present-day color i)icture, the background usually changes from light red to light green in ever-changing waves; pale colors shift and change back and forth regularly and deep colors show the same tendency, annoying the spectator. (4 ) Shimmering color grains, particularly in high lights, must not occur. This is noticeable particularly in large screen pictures. It is tiring to the eye, and therefore objectionable. (5) The print must be clean; it must not have colored negative or positive scratches, colored “snow” effect, or color smudges. In the average colored picture, made by a two-color Subtractive process, the White is spotted either with red or green smudges or irregular lines. (6) The colors must have a satisfying brightness; that is, they must not be either glaring or washed out. The picture must give the same satisfaction in color as it gives in Black and White. Moderately bright true colors are most ])leasing in general. Pale or “pastel” colors are not desireable throughout the picture ; neither are blazing colors that look like a chrome-lithograph on a complimentary calendar. (7) The sound track must be clean — free from smudges, colored dots, lines, or other defects. It must be accurate and sharp so as to give as good a reproduction of sound as is given by Black and M'hite. (8) The emulsion must not scrape off, piling up at the gate springs of the projector ; and it must not scratch more readily than the emulsion of Black and White, for scratches on color film may produce colored lines on the screen picture, which are annoying. (91 The cost, though necessarily greater than the cost of Black and White film, must not be unreasonable. (101 Ko radical changes should be required in the arc carbons or arc current, nor any extensive alterations in the optical systeiti, or in other parts of the projector. If the optical system of the projector must he altered for color projection, it should not be altered so as to prevent instantaneous change back to ordinary projection of Black and White film or vice versa. Changes in the Theatre End In the theatre end, the changes required for color projection are not expected to be so serious as those required by sound, but some changes must, at all events, be made. These are the following : (1 ) In some cases, an Increase in the number of amperes for the arc so that the brightness of the arc may be increased, is required. Color cuts off a considerable amount of light, particularly if the prints are dark. Such a change is, then, necessary. Care must be taken, however, not to increase the amperage to such a point as to cause an irregular flickering of the arc or to increase the danger of fire to the film, while it is running, from the excessive heating of the machine parts. (2) The highest grade of condensers and of projection lenses must be used. The projection lenses must be free from chromatic aberration (color fringes and lack of definition) for, unless equal definition to Black and White is obtained, the first few rows in the orchestra will become undesirable during the projection of color pictures. (3) If tlie color of the screen used for Black and White is unusual, a screen with neutral tint must be installed. Offcolor screens affect color values. (4) Colored prints must be handled more careful^' than Black-andWhite prints, for the reason that the resultant scratches may be in color. Color scratches are, as said, more noticeable than black and white, and therefore more objectionable. Such prints require greater care also because they are more costly. Changes in the Studio End The changes in the studio are more serious than those in the theatre. To get the best results, the producers must make the following changes : ( 1 ) More illumination, and illumination of correct “Whiteness.” (2) A change in the colors of the make-up. The makeup for Black and White is generally not suitable for color, and something more nearly approaching the stage make-up appears to be necessary. The make-up colors that have so far been used in color pictures are not quite satisfactory, for natural flesh color has been attained in but few pictures. In most cases the faces and hands appear too coppery. (3) Change in the colors of the costumes to get the full advantages of the color process. (4) Change in the color of the sets. (5) More careful choice of locations. (6) Special and costly cameras, generally of complicated optical and mechanical construction and of high precision, to insure color print registration. (7) Specially trained cameramen. (8) Special film. (9) A readjustment of exposure time limitations since correct exposures for color are more critical. (10) A change in the method of developing, cutting, and processing. (11) Modification, in some cases, of the method of printing, developing, and processing the sound track. These difficulties, however, will have to be met by the producer ; it is not expected that they will create any problems for the exhibitor. (T/ie ttexl article on color will be printed in a forthcoming issue.) MR. QUIGLEY! Martin Quigley, publisher of Exhibitors-Herald, has made a personal attack on me in the January 11 issue of his paper, using language that no person with any respect for himself would use. Personal attacks do not, as a rule, deserve an answer, for they hurt no one else except him who makes them. But because Martin Quigley has hidden the real motive for his attack. I am going to make an exception to the rule, and answer him. As the cause of the attack he gives my favorable review of “Her Unborn Child,” the subject matter of which he considers harmful. (Continued on last page)