Motion Picture News (Sept-Oct 1918)

2238 (Equipment Service) Motion Picture .V e w Sousa's latest march, and every up-to-the-minute leader should have Sousa's latest in his library. (Sam Fox Pub. Co.) — "Sweet Memories" — a great new waltz by the well-known writer, Chas. L. Johnson. (Forst Music Pub., Inc., 736 South Michigan Avenue, Chicago, 111.) 6— "When You Come Back, and You Will Come Back, There's the Whole World Waiting for You," by Geo. M. Cohan, the Yankee Doodle Boy. The song sensation of the hour. Play it — sing it — whistle it — and help win the war. (Carl Fischer, Cooper Square, New York.) — "Kentucky Dream" — a new instrumental novelty. It would be folly to tell you how great this composition is or that it is the biggest waltz hit ever written. It couldn't be a hit — yet — it is just making its debut. So all we say is — send for a copy, play it — play it again — then you and your patrons will render the verdict. (Jos. W. Stern & Co., 101 West 38th Street, New York.) — "Kathleen" might be aptly described as a surprise waltz. The first movement is marked molto lento and is constructed similar to the recognized form of French waltzes. There is a pleasant surprise which occurs in the second movement and the trio from which the composition derives its name. The counterpoint in the opening movement is of considerable interest to musicians. Played in straight tempo, it is an excellent dancing waltz and, with the markings noted, an entertaining concert number. (Belwin, Inc., 701 Seventh Avenue, New York.) — "Capricious Annett" — It is a capricious, winsome, gavotte, intermezzo, composed and orchestrated by that wellknown musician, Gaston Borch, and is adaptable for any combination of musicians from violin and piano to grand orchestra. (S. M. Berg, Columbia Theatre Building, New York.) 1 A — "Sleeping Rose" — a languid walk in a beautiful garden I Vy at the end of a hot summer's day with the refreshing fragrance of the roses permeating the air, their sweetness filling the senses with delight, as their soft petals droop off to rest, is the atmosphere conveyed by this languorous valse lento composed and orchestrated by Gaston Borch to meet the requirements of all instrumental combinations. (Belwin, Inc.) 11 — "Oh, How I Hate to Get Up in the Morning" — oneI step. Irving Berlin's bugle song that has surpassed all his former hits. (Waterson, Berlin & Snyder, Strand Theatre Building, New York.) IO — "While the Incense Is Burning" — the Oriental fox trot ^ hit of the year. A beautiful melody that is sweeping the country. (Sherman, Clay & Co., San Francisco, Cal.) I'jL — "Mendelssohn Melodies" — selection by Chas. J. Roberts. A splendidly arranged selection of the best liked songs by Mendelssohn. An unusually interesting number for your program. (Carl Fischer.) 1 A — "Love in April" — a love song by Christian Kriens. The ' • writings of Christiaan Kriens need no introduction, and this, one of his very best numbers, is a great favorite. Add it to your library. (Carl Fischer.) 1 C — "The Library Boys' March" — martial, specially bright ' and stirring; full of ginger, vim, snap and swing. (E. T. Paull Music Co., 244 West 42nd Street, New York.) LATEST MUSIC CUES "BY THE WORLD FORGOT" ( Vitagraph-Xova-Glendon) Specially selected and compiled by M. Winkler. The timing is based on a speed limit of 14 minutes to a reel (one thousand feet). Theme: "Love Song Orientale " (Characteristic Moderato) by Kiefert 1 — "Nocturne" (Pathetique) , by Chopin (1 minute IS seconds), until at screening. 2 — " L'ermite " (Moderato Meditation), by Gruenwald (2 minutes 15 seconds), until T: "And while Derrick, the new." 3 — "Myriad Dancer" (Valse Ballet), by Aleen (1 minute 30 seconds), until T: "And then the bridegroom." 4 — "Little Coquette" (Morceau Characteristic), by Flath (3 minutes), until T: "To this strange situation." 5 — "Impish Elves" (Winsome Intermezzo), by Borch (1 minute), until T: "And Derrick Van Beekman's." (Continued in next column) (Continued from preceding column) 6 — " Rondo " (Excerpts Beethoven Sonata Pathetique). by Berge (30 seconds), until S: When Beekman enters taxi (automobile effects). 7 — " Dramatic Narrative," by Pement (1 minute 30 seconds), until T: "The Van Beekman-Maynard." 8 — "Sinister Theme," by Vely (2 minutes 15 seconds), until T: " Shanghaied " (wave effects). 9 — "Galop" (Characteristic), by Minot (2 minutes), until T: "Get up from there and get." 10 — " Tendre Amour" (Serenade), by Clements (1 minute 45 seconds), until T: "While back in the home from." 11 — "Serenade" (Moderato), by Pierne (2 minutes 15 seconds), until T : " My name's not Smith." • 12 — "Storm Furioso " (Descriptive), by Minot (2 minutes), until T: "A fateful night" (wave effects). 13 — "Dramatic Tension No. 9," by Andino (1 minute 30 seconds), until T: "After a fruitless attempt" (glass crash). 14 — " Misterioso Dramatico," by Borch (3 minutes 15 seconds), until T: "In the middle of the following" (wave effects). 15 — "Andante Dramatico No. 62, by Borch (1 minute 30 seconds), until T: " News like the crack of doom." 16 — " Love Song Orientale " (Characteristic Moderato Theme), by Kiefert (2 minutes 15 seconds), until T: "While on the rock of a tiny. 17—' until S 1 Chirpers " (Morceau Characteristic), by Frank (3 minutes). When Truda gives Beekman shoe. March Bizarre," by Simon (1 minute 15 seconds), until T: " The chieftain of the tribe." 19 — Theme (3 minutes), until T: "In the hour of talk that." 20 — " Herd Girl's Dream (Idyll), by Labitzky (1 minute), until T: " The survivors of" the ill." 21 — "Patrol Orientale" (Characteristic), by Kiefert (2 minutes), until S: On the island. 22 — Theme (3 minutes), until T: "With each day grows more." 23 — "To a Star" (Romance), by Leonard (1 minute), until S: As scene fades to ship. 24 — Gruesome Misterioso," by Borch (2 minutes 15 seconds), until S : When Beekman leaves tent. 25 — "Dramatic Tension No. 36." by Andino (1 minute 15 seconds), until T: "The log book of the Dutch." 26 — " Dramatic Agitato No. 38," by Minot (2 minutes 15 seconds), until T: "While at dawn the yacht." 27 — Theme (45 seconds), until T: "This is my man I go with. 28 — "Allegro Agitato No. 8," by Andino (1 minute 45 seconds), until T: "And the tribe true to its." 29 — Theme (1 minute 15 seconds), until T: "All day save when they" (wave effects). 30 — "Vivo Finale" (Symphonette Suite), by Berge (2 minutes 30 seconds), until S: When Beekman sees ship's party. 31 — Theme (1 minute), until T: "The realization that only." UNTIL THE END The Feather stone Color Process (Continued from page 2236) The screen appearances in Fig. 5 (2 + 3 and 3 + 4) show in the middle a substantially white spoke with a red spoke on one side and a green spoke on the other. The dilution of these harsh colors into an inoffensive tint (Fig. 6) is not caused by their overlapping spatially, but rather by their overlapping temporally, due to persistence of vision, and since a red is followed (temporally) by a white, and this in turn by a green, all three of which appearances are co-extensive spatially, and impress the eye within the fifth part of a second, the actual impression in the mind of the observer at any given instant is that of a light yellowish green spoke followed and preceded by spokes of a pinkish cream tint. In other words, the screen would, reveal a series of spokes, alternately tinted as in Fig. 6. The advantages, then, of a twin-lens camera for two-color cinematography, and three-lenses for three color work, are first, the substantial elimination of the startling color fringes which are unavoidable where one lens only is used. Second, each area of the negative is impressed from both lens positions, giving a roundness and partial relief to the projections. Third, each image-area receives a double exposure, thus making it possible to give the necessary time to scenes which are insufficiently illuminated. Means for adjusting the lenses to correspond with the distances of the principal planes of the scene, and for simultaneously adjusting the separation of the lenses and their foci, are not shown, as they are well known to those skilled in the art. It is possible to dispense with separate color filters by using colored celluloid as a base for the panchromatic emulsion, and turning the celluloid side toward the lenses, in which case the shutter simply occults and exposes. Hence the invention is not limited to means including any particular type of color filter, or shutter, or picturesurface or camera. Complete Plan Book Begins on page 2243