The international photographer (Jan-Dec 1935)

February, 1935 The INTERNATIONAL PHOTOGRAPHER Twenty-three velopment will abate the cry for good color prints — prints which will hold up under projection and be equal in quality to black-and-white prints. Therefore, the present double-emulsion stock is destined to be supplanted shortly by a single super-emulsion stock, with the two or three color images there applied. Thus will much 'projector scratch,' heretofore complained of, be eliminated." Therefore, as Mr. Prager points out, with producers truthfully informed of the possibilities of a few of the many color systems and processes now striving for recognition, it seems that the solution for color generally adapted to major production lies in the organization of a financial force of sufficient buying-power to purchase and pool, after thorough investigation, such patents as warrant further development into a major color-organization of unquestionable patent-structure. "As to the future of color cinematography, many things may be predicted," Mr. Prager continued, "as Ray Fernstrom did, in one instance, in the January, 1934, issue of THE INTERNATIONAL PHOTOGRAPHER, in which he said that the color newsreel is inevitable. Two world-records were established this last New Year's Day, when a combination of Hearst Metrotone News and the Dunning Process Laboratories placed a color 'news clip' upon the screens of fifteen theatres throughout Southern California, of the Pasadena Tournament of Roses parade, within six and one-half hours. This was a 'scoop' for color, regardless of the quality of the first prints which were later — the same evening — supplanted by prints of cynex-tested color values. But it all went to prove that color can and will also play an important role in the reproduction of topical news, in the near future. "Then, there is the future of the color cameraman, both directorial and operative. In my opinion, the former must be born color-conscious and be able to see at a glance each and every rendition of the color-spectrum to be employed. Of the latter, operative cameramen can be trained. "All the abuses of color in former years will be avoided, when the director of color photography is placed on a par with the producing director on the picture assignment, with consideration for his fitness to interpret chromatically the problem at hand. "As I see it, with his technical knowledge, the director of color photography is going to be the 'king pin' of production in the future; for, with the coming of television — and it is coming, just as sure as fate — the cameraman who, in the past, has often shouldered the added tasks of radio operator and even navigator on many a filmexpedition, must likewise be equipped to meet the coming requirements for taking 'film transcriptions' for television broadcasts, as well as shooting 'direct pick-ups.' And in the taking of both, color will play an important role, acting as the 'catalytic agent' in the creation of stereoscopic screen images. "Thus, are we making color test films for 'transcription projection,' in connection with overcoming the green light ray, emanating from the 'cold cathode-ray' tube of the Farnsworth television equipment, and giving a natural colored image, photographed and transmitted at the standard rate of 24 pictures per second. This will add much to the value of television broadcast ; and, although David Sarnoff, president of R. C. A., advised radio dealers last November to be prepared for the advent of television the beginning of the current year, it will be a little longer before the studio cameraman need worry about his presently secure (?) position. But, at the same time, my advice to him is to be prepared then to come into his own ; or there are going to be many new faces seen behind the cameras of the future, as the coming of color into general use is sure to bring in front of the same cameras. It will be a repetition in reverse of what happened, not so long ago, when the screen became articulate." William Langton Prager, who contributes these interesting observations to THE INTERNATIONAL PHOTOGRAPHER, on what seems to him to be "just around the corner" for the camera-craft, is a Hollywooden and has grown up in the industry. On getting his high school sheepskin in 1916, he set out to learn the picture business at Universal, during the H. O. Davis regime. Since then he has worked in every department of production, so that it may be said he knows it "from the ground up." To his credit stands putting the first wireless into pictures, which was in the International serial, "Patria," starring Irene Castle. "Bill" Prager did his bit in the World War, by joining up with the 17th Company of the Coast Artillery Corps, which consisted 90 per cent of motion picture men. During his two years overseas, he put in the radio system between Chaumont and Rotterdam, Holland, for General Headquarters, among other important assignments. That "Bill" Prager was color-conscious early in his career is evidenced by the fact that in 1918 he photographed the Armistice Celebration in Paris for Pathe Freres — in color. Since then, on returning to Hollywood, he has turned on the camera-staff of many productions, at various major studios, notable lately: "Broadway Through a Keyhole" and "The Bowery," for Twentieth Century. In between times, he has produced a series of independent color "shorts," on his own, among them being "Rodeo," "Street of Memory" and "Fiesta." In the course of this experience, Mr. Prager has perfected his own color system, using "super-pan" film at the same footage and speed as for "black and white." In so doing, he has never lost sight of the fact that, first and foremost, color cinematography must be commercial, if it is to make its way and come into general use. No matter how beautiful and artistic the results of a process, there is no big future for it unless it is eminently practical for both producer and exhibitor. And there is this further essential : It must not add too much to the cost of production ; for, in the last analysis, there is a limit to the box office strain. He has kept these salient facts in mind through all his experiments and proved that they can be met satisfactorily. In conclusion, Mr. Prager asked the privilege of this postscript: "Color on the screen is too big a subject to exhaust in any one magazine article, since many books are being written on it. But if the few rambling thoughts herein recorded seem valuable, I will be glad to make a more thorough analysis of all color systems hereabouts and contribute a detailed report on them, for future issues of THE INTERNATIONAL PHOTOGRAHER. That is, of course, by courtesy of The Editor." [The Editor herewith invites Mr. Prager to follow up his color story in March issue; so look out for another interesting yarn. — Editor's Note.] Please mention The International Photographer when corresponding with advertisers.