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If it is true that the sensation of relief in respect of near subjects is in large measure due to binocular sight, it must also be considered that the effect of atmosphere and distance in a landscape is due entirely to the gradual training of the eye, whereby it transforms automatically, in the brain, the fading and variation of colour into the sensation of distance.
Thus, even failing the much desired invention of a stereocinematographic process (an invention that has been repeatedly heralded but the possibility of which seems remote, when considered apart from complicated systems of separate vision by the two eyes), the introduction of even approximative processes of colour cinematography will enhance the impression of relief and of distance.
The manner in which bi-chromatic cinematography has been applied to medicine by means of the clever Busch apparatus y described on page 270 of the third issue of this Review, proves that, notwithstanding the incompleteness of the sensation, the effect obtained is much more demonstrative than anything that can be obtained by ordinary cinematography, and the greater truthfulness of the picture certainly produces the effect of making the details stand out with greater relief.
The Positive Film and printing on both sides.
A film of celluloid coated with a double stratum of sensitive emulsion, one on either side, is unquestionably the kind best suited to bi-chromatic cinematography.
The usual emulsion employed for cinematographic positive films intended for ordinary projection is used. But two circumstances must be allowed for in printing the positives, one of a mechanical and the other of a physical order.
The printing machine must allow a single series of images to be printed on each side of the film; hence it follows that the two films — the negative and the rough positive — cannot be printed in the ordinary way, it being necessary to jump one image: only by this means is it possible to print on one side a continuous
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