Journal of the Society of Motion Picture Engineers (1930-1949)

equipment lor the technical sessions and also met the demands of five pairs of concurrent sessions. Public address and recording of discussion — of which there was a good deal — was under the direction of Jack Greenfield who had the assistance of Robert Dickinson, Richard Simpson, Mike Loria, and Ed Moore who was most effective in stepping into a late schedule for recording some high-speed photography papers, with equipment supplied by Wilson E. Gill. Further refinements in the Society's public address and recording equipment may be forthcoming. Editorial VicePresident-elect Norwood Simmons has appointed the following committee to study the equipment: George Lewin as Chairman, Edwin A. Dickinson, Jack Greenfield and Fred Whitney. Motion pictures for the opening of sessions were garnered and made into a coordinated film program by John V. Waller who was assisted by John E. Horton, Jack McGullough and Emerson Yorke. The roster included: Jet Test, 16-B&W, Air Force Timber & Totem Poles, 16-color, U.S. Dept. of Agriculture This Theatre & You, 16-B&W, Motion Picture Assn. Operation Greenhouse, 16-color, Atomic Energy Com. School for Dogs, 35-B&W, RKO Screen Actor, 16-B&W, Motion Picture Assn. Shining Rails, 16-color, Gen. Electric Gambling, 16-B&W, Navy Small Town Editor, 16-B&W, State Dept. Shoemaker & The Hatter, 16-color, Mutual Security Agcy. Costume Designer, 16-B&W, Motion Picture Assn. Representative Instructional Films, 16mm Maint., Various Arch Against The Sky, 16-B&W, Gt. Lakes Steel Corp. Unlocking The Atom, 16-B&W, Universal Let's Go To The Movies, 16-B&W, Motion Picture Assn. Tanglewood, 16-B&W, State Dept. Screen Writer, 16-B&W, Motion Picture Assn. There were more persons than usual from overseas, many of them coming for the International Symposium on HighSpeed Photography (see photo). A highlight of the Symposium was the HighSpeed Photography Luncheon on Wednesday noon when A. C. Keller spoke on "The Economics of High-Speed Photography" which is published elsewhere in this Journal. John Waddell was master of ceremonies to welcome an overflow crowd in the luncheon hall. There were several of the Society's officers and Governors at the High-Speed Luncheon. John Frayne, Editorial Vice-President, spoke briefly about the accomplishments of the High-Speed Photography Committee and assured the High-Speed photographers of the Society's continuous policy to help in every way possible, believing that the interests and activities of high-speed will be served well within the Society's organizational structure which permits integrated activity of varying but related interests and which at the same time brings the benefits of mutually sharing in facilities, overhead and man-hour costs. It was of some interest to note not only at the High-Speed Luncheon but also at the high-speed paper sessions that a sizable fraction of those attending had registered for the entire week and also that quite a few persons shuttled between high-speed and the concurrent session in order to hear particular papers. This may or may not be an indication of greater diversification of high-speed people's interest, to include phases of laboratory practice, optics or sound. The highest attendance at a session was 247 on Tuesday afternoon for Karl Freund's paper "Shooting Live Television Shows on Film." It was read by John Boyle in the absence of the author who is currently on a rigid four-days-a-week Hollywood television schedule. The paper was tainted with entertainment possibilities by showing on a sizable screen a film of I Love Lucy which demonstrated the cameraman's problem. The only other sessions to draw over 200 were two of the seven sessions of the International Symposium on High-Speed Photography. During the high-speed sessions there was some filing in and out for particular papers but, during the first two 433