The international photographer (Jan-Dec 1935)

Fourteen The INTERNATIONAL PHOTOGRAPHER June, 1935 DETAIL IN TELEVISION AND MOTION PICTURES By Harry R. Lubckh (Director of Television of the Don Lee Broadcasting System) One of the most frequent and most logical questions asked in connection with television is: "Will television reception ever equal the motion picture in smoothness of detail and beauty?" The answer is "Yes." But why this is true, and upon what data it is based, is of interest to those engaged or interested in both industries. Considering first the motion picture, we know that the detail perceived on the screen is dependent chiefly upon the illumination of the picture, the photographic grain of the film, and the mechanical precision of the recording and reproducing mechanisms used in the process. In the modern theatre the picture is well illuminated, and the grain of the film is hardly apparent. The precision of the mechanism, and particularly the projector, generally contribute such inaccuracies as are found. The standard of performance established by the Projection Practice Committee of the Society of Motion Picture Engineers, and published in the March, 1934, issue of the Journal of that society, states: "If the projector is in first-class condition, and the intermittent movement and the picture gate are properly adjusted, the picture jump should not exceed the values given in the following table {one-third of one per cent of the picture height) ..." Interpreting this specification in another way, it is seen that an otherwise perfect picture is blurred by an amount equal to one-third of one per cent, by a projector in firstclass condition. This means, further, that an object, so small as to occupy only one-third of one per cent of the picture height, would be blurred into non-recognition. This is a very commendable precision, however ; a perfection of reproduction that is often unappreciated by the eye and beyond which it is therefore unnecessary to go. An object as small as the one mentioned is seldom noticed by the eye, or at least registered on the looker's consciousness, because the looker is occupied in discerning and enjoying the central figures, the action, and the story that is being told. Viewing this precision from the television aspect, it is obvious that any object, so small as to be wholly included within one scanning line may lose much of its identity. An image containing a number of scanning lines proportional to the precision previously stated would therefore be of the same clarity as the motion pictureOne scanning line is thus to be one-third of one per cent of the picture height. This is to say that the image is to contain three hundred lines (the reciprocal of onethird of one per cent). This represents a precision that will soon be within the grasp of the television art, or, in any event, a degree of perfection that will be attained. The answer to the original question was thus correctly given. In contrast to the motion picture, television equipment does not have an intermittent movement. This function is carried out by cathode to the ray tube, with its pencil of electrons, which is inertialess. In the televising of motion picture film the intermittent motion is usually omitted, since a uniform motion of the film coacts in a superior way with the required scanning processes. The television presentations of the present day are, of course, defective in other respects, often in ways which find a counterpart in the motion picture process. Proper composition of the scene televised, proper contrast, and a proper intensity range, conspire to produce results far superior to similar scenes televised in violation of certain requirements in these respects. But this is another story that involves a whole new technique and must be left for a later date. Suffice it to conclude with data presented in answer to the more general question: "Will television ever equal the movies?" PRICE REDUCED ON CINE-KODAK, MODEL K Here's news from Rochester that should be welcomed with open arms by amateur cinematographers — and those who would like to own a fine Cine-Kodak with the ultra f : 1 .9 lens but to date haven't been able to afford it. The list price of the Cine-Kodak, Model K, formerly selling at $152.50, has been reduced to $112.50 -without a carrying case and $125.00 with the case. This $27.50 price reduction, according to advice from the Eastman Kodak Company, has been made possible as the result of increased sales, with its attendant manufacturing economies. Model K, with the f:3.5 lens will no longer be supplied, as the new price of the f:1.9 is practically the same as the f:3.5 model. Cine-Kodak, Model K, with its f:1.9 lens justly deserves its great popularity in the 16 mm. field for its versatility, its adaptability to other lenses — wide angle and telephoto. Its simplicity plus excellent performance makes it a favorite among travelers, architects, business and professional men and is extensively used by professional cinematographers, who demand precision movie cameras for personal use, and others in every walk of life who desire the best in amateur movies in either monochrome or color. In SAN FRANCISCO STOP at the Hotel Mayfair 626 Polk St., near Civic Center 100 Rooms 100 Baths Single $1.50 Double $2.00 Special Rates for Permanent Guests Operated by a Member of Local 659 DARK ROOM FACILITIES PROVIDED Flease mention The International Photographer when corresponding with advertisers.