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 C!anada, 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 Elxhibitors 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 : Harreport (Bentley Code) A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING Vol. XII SATURDAY. MARCH 15, 1930 No. 11 COLOR IN MOTION PICTURES— LAST ARTICLE In this article a comparison of the various systems will be made, giving such facts as will be of interest to the exhibitor. Studio or laboratory problems will not be dealt with, because the exhibitor is not interested in them except so far as they are reflected in high film rentals, late deliveries, or uneven quality of prints. It is assumed in this discussion, however, that the problems connected with the quality of prints and with their delivery will be handled promptly by the exchange, which is naturally responsible. Let it be understood that this discussion is not aimed to promote or to condemn any particular commercial process ; it is a broad discussion, a sort of general guide, intended to lay before the exhibitor such facts as will enable him to have a fair knowledge of the advantages of some processes and of the disadvantages of others. It must also be remembered that these views are not final ; in a field that is developing as rapidly as this, modifications of views may be necessary later. \Vhat will be said in this article is believed by those who have imparted the information to the writer to be accurate at present. For descriptions of the different processes, the reader is referred to the third article of this series, which was printed in the issue of March i. It might be of advantage to him to read also the other two articles, the first of which was printed in the issue of December 2i, and the second in the issue of January 25. 1. Additive Processes A. Two-color arrangement, with simultaneous PROJECTION of pictures, FULL 35-MILLIMETER FRAME SIZE, TWO FRAMES PER SCREEN PICTURE: In the use of this process the advantages are : normally bright and sharp image, and possibility of clear colors. The disadvantages are : ( i ) radical changes in the entire optical system of the projector (probably requiring new projectors) ; (2) inaccurate screen registration of red and of green pictures ; (3) double length of reels; and (4) film speed incorrect for normal sound tracks which are recorded at 90 feet per minute. B. Two OR THREE COLOR ARRANGEMENT, WITH SIMULTANEOUS PROJECTION OF ALL COI.OR-COMPONENT PICTURES LOCATED IN A SINGLE FRAME (oneframe per screen picture) : The advantages of this system are : ( i ) normal film speed and sound track speed ; and (2) all film images are black and white. The disadvantages are : ( i ) Special optical equipment to be added to e.xisting projector; (2) lowered screen illumination and poor definition resulting from smaller screen pictures ; (3) screen picture registration difficulties. particularly with film that has shrunk or worn ; (4) necessity for changing the optical system when projecting black-and-white film; and (5) effect of high screen magnification of dust or dirt on small images. C. Two-color additive, with successive projection of RED AND GREEN COMPONENT PICTURES : The advantages are similar to those in i.-\. The disadvantages are: (i) necessity for addition to projector of rotating color filters; (2) action color fringes, unless the film is run at 48 or more frames per second, which is 180 feet per minute; and (3) screen illumination limitations. D. Threc-color additive with COLOR-IMAGES (somewhat like the Kodacolor amateur process) : The advantages are: (i) normal film speed; (2) no screen registration problems; and (3) general simplicity of process. The disadvantages are : ( i ) line structure, or lack of sharpness of the screen images ; (2) greatly reduced brightness of the screen image or else smaller pictures ; (3) the difficultj' of getting bright clear colors on normal size screen picture; (4) necessity for color filters on projecting lens; and (i) necessity for equipping the projector with specially designed objective lenses. 2. Subtractive Processes A. Two-color subir-lctive systems with chemical to.ning: The advantages of this system are: (i) the employment of the same projector arrangement as in black-and-white — no changes whatever are required ; (2) the running of the film at the regular speed; and (3) ease of handling. The disadvantages are: (i) poor color rendition ; (2) lack of sparkling clear white and dead black colors; and (3) unnaturalness of flesh tints in general. B. Two-color subtractive systems with inhibition COLORS : The advantages of this system are as in 2A ; also better color effects. The disadvantages are : ( i ) Color “shimmer” or color grain on the screen; (2) lack of definition in long and in medium distance shots; and (3) color limitations. As explained in the first article of this series, many of the primary colors cannot be reproduced by a twocolor process, whether additive or subtractive. C. Two-color subtractive arrangement with mordanted colors : The advantages of this system are as in 2A. The disadvantages are poor registration or lack of sharpness in the available commercial systems of this type, as well as the color limitations natural to all two-color processes. Slunmary All two-color processes, whether Additive or Subtractive, necessarily show less color range and accuracy of color rendition than is shown by three-color processes. But threecolor processes are not yet developed to the point of being generally practicable, whereas some two-color processes are now developed to the point of giving fairly satisfactory results when the laboratories do not rush the printing through. All the processes that have been discussed in these articles have, as it has been seen, their good and their bad points. Process 2B is the most widely used. Processes iB, iD, and 2C are under most commercial development, but no data are available as to when they will be on the market. Nor is it yet possible to decide which process will ultimately prove the best and its use become general. The goal toward which all laboratories are headed, however, is a three-color process, in all probability Subtractive, for it is only through such a process that a fairly complete range of all colors with their fine shades and full brilliancy can be readily obtained. Until then the industry will have to get along with the best two-color processes. •As far as the exhibitor is concerned, he should have an interest in the development of color and keep his mind open towards new processes and examine them carefully and critically at all possible opportunities in the light of facts given in these articles, which represent the knowledge gathered by scientists who have made a life studj' of color. This article completes the present series. But others will be published as the color field develops and new methods, important to the exhibitors, become commercially available. “PROTECTION,” THE TRUST, AND POSSIBLE CONSEQUENCES We have frequently charged the producer-distributors, and we have ample evidence to sustain the charge, that they are determined to drive out of business all independent theatre owners that have theatres in worth-while locations. While extortionate film prices and harsh conditions heretofore imposed on you through one-sided contracts and through the ruthlessness of the film boards of trade have been the means, their most effective weapon has been the system of “Protection.” Through this system they have been able to hold back from you the choice film for an un(Continued on Last Page)