Motion Picture Magazine (Aug 1923-Jan 1924)

The Ne\tf Motion Picture (Continued from page 57) machine had been constructed to meet the demand of sixteen frames to the second. The delicately balanced organism could not withstand the strain of the accelerated speed. It became necessary to construct special machines. This was the birth of Kinemacolor. Some of us may remember way back in 1908 the sensational showing of the coronation of King Henry VII and the Indian Durbar, in color? The image passed before the eyes at such a high rate of speed, however, and there was an unnaturally frayed edge of color, that one strained one's vision in trying clearly to focus and successfully follow the pictures. A remarkable phenomenon was thus exhibited, but perfection in the colored moving picture was a long way off. In 1912, Leon Gaumont of Paris concluded a series of experiments wherein he succeeded in employing three primary colors, instead of the two of earlier processes, exposing all three colors at the same time. Gaumont accomplished this effect by a triple lens. But here again was the inventor and the process meeting unsuccessfully the acid test of all future motion-picture processes — commercial success. A special projecting machine was necessary and double the footage of film! For three separate pictures of the same image were made by the triple lens — one above the other. The speed was twice that of the black-andwhite film, so twice as much film was necessary to show the same picture. This extra outlay precluded small theaters from patronizing the Gaumont process. Color moving-picture photography received what would seem to be an effectual and permanent contribution that turned it in the right direction some five years later. Kinemacolor had employed two colors of the spectrum ; Gaumont three, and now a new entrant in the field four. In the New York Museum of Natural History, on February 8, 1917, the Prisma process was first introduced. The fourcolor division, as a matter of fact, included the entire spectrum of colors ; there was red-orange, bluish-green, yellow and blueviolet. Later patents, however, have covered a number of improvements of the Prizma process and we may say that most of the notable faults of all color processes have been practically eliminated. An up-to-date Prizma picture gives one somewhat the same sort of reaction that listening to a radio does. First and foremost among the improvements in Prizma is the fact that its film may be shown with any type of standard projecting equipment and may be projected on any screen where black-and-white pictures are shown. In other words, Prizma emerges from the mere "curiosity" film into the open competitive market. It could never have hoped for any extended future without that advantage. Another practical feature of the improved Prizma lies in the fact that practically any action — meaning in [density of light or shade, speed of movement and volume or mass — that may be photographed in black-and-white may be filmed with equal success by Prizma. Finally, the cost has been reduced to something like sixteen cents a foot from what was fairly recently twenty-five cents a foot. However, we may guess what a problem remains to be wrestled with in competition with black-and-white film, when we mention that the latter costs but four cents a foot! The substantial reduction in cost and OrMOTION PICTURE I TR.E-JUR. The Newest of Any — the Most Complete of All— and at $1.25 THE TRE-JUR triple compact — a veritable treasure chest for "beauty in the making". Complete for the hasty toilerte — yet in size no larger than ordinary compacts. Complete, we say, for beside poudre and rouge, there is a lip-stick. The TRE-JUR compact is as convenient as it is complete. 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