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1. ARC LIGHT SOURCE.
2. APERTURE PLATE.
3. COLOR WHEEL.
4. CONDENSER LENS.
5. MIRROR BAR SYSTEM.
6. ELECTRON GUN AND
DEFLECTION SYSTEM.
7. SPHERICAL MIRROR WITH
THIN LAYER OF EIDOPHOR LIQUID.
8. ELECTRON BOMBARDED LIQUID AREA
THAT MODULATES LIGHT BEAM.
9. KNIFE EDGE DETERMINING
THICKNESS OF LIQUID LAYER.
10. PROJECTION LENS.
11. DIRECTING MIRROR.
12. THEATRE SCREEN.
Fig. 4. Essential components of the projector.
effect. The light storage effect is of primary importance when considering the efficiency of the Eidophor method, which is appreciably in excess of the increase in efficiency which may be achieved with ordinary cathode-ray tubes by using the afterglow of the phosphor layer.
After the completion of the first prototype model and the study of the data gained from it, it was decided to build a second and improved unit. Before this was finished Dr. Fischer died, and the work was carried on by his associates under the direction of Professor Baumann and Dr. Thiemann. With the second unit large-screen images were produced and the results were sufficiently promising to justify building a third and much smaller prototype with a new layout of the schlieren optics utilizing only one bar system and a spherical mirror. This third prototype was first operated in December 1950; it showed black-andwhite, large-screen television pictures and fulfilled all expectations as to its
performance. (A description of the early equipment has been published in this Journal.1 Dr. Thiemann published an extensive article in 1949,2 and an article by Prof. Baumann3 is reprinted in succeeding pages of this Journal.}
Since the time had come when the emphasis must be on practical design, an arrangement was made between the Institute and Dr. Edgar Gretener, A.G. of Zurich whereby the latter organization would undertake the practical adaptation and commercialization of the equipment. Discussions culminating in a contractual relationship were negotiated with Twentieth Century-Fox; demonstrations were given, and technical conferences held, and it was determined that, to compete with the present state of the motion picture art, largescreen television pictures should be in color.
An arrangement was made with the Columbia Broadcasting System to make use of its field-sequential color knowledge and techniques. This method offers to
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April 1953 Journal of the SMPTE Vol. 60