Motion Picture News (Nov-Dec 1920)

3978 (Equipment Service) Motion Picture News Ga/m e v Labor aXory P i ctur e S tit d 10 Mechanigraph Said to Make Filming of Mechanical Subjects Simple Minute Models of Devices Are Made of Fibre and Operated Exactly as Standard Si7e Mechanisms THE Mechanigraph is a late invention in motion pictures, and has just been placed in use by the Harry Levey Service Corporation. This company, which specializes in the production of industrial-educational motion pictures, has added many innovations to this increasingly important branch of motion picture production, and it is expected that the invention of the Mechanigraph will be another tremendous step forward in transmitting to the screen big industrials and educational problems of the day. The purpose of the Mechanigraph is to show on the screen the working of bits of mechanism, of which it is impossible to secure motion picture close-ups while they are in action; to show transitional stages in the manufacture of a product; and to show, too, such important educational points as the progress of travel evolution, such as — as is now being done in a feature being prepared by this company — how the father of all wheels— the log from the forest— gradually came to be more and more perfected until it grew into the modern spoke wheel. " The animated cartoon " has always been the medium heretofore for presenting upon the screen by means of moving line drawings such explanatory bits as cannot be shown adequately in any other way. " The Mechanigraph " is much more elaborate than this and goes many steps further. It is an actual mechanical contrivance, an exact working replica of a machine or a bit of mechanism, moving just as the machine moves, and doing all the things the machine does when it is in operation. It is fashioned of a specially prepared fibre-board, and it has the added advantage of being moved and operated by its maker, so that the motion picture camera can be placed close to it, without the slightest danger, so that the most intricate bits of action may be shown clearly. The article, or machine to be photographed, is studied from every angle — while it is dormant, and while in action. Then, from the The separate pieces making up the models for the Mechanigraph fibre-board is xashioned an exact duplicate, greatly reduced, but made to proper proportion. First, an exterior view is cut out, with all details complete — front, back, joints — just as though the actual model were being fashioned. Then another set of parts, this time of the interior, is made. For each little section, each piece of wire, each separate part of the original, there is a fibre-board duplicate. These are placed together with working joints of brass rivets. When an exact fibre-board interior is complete it is placed with the pieces represent ing the exterior, which are in turn hinged riveted, and jointed, just like the original. How the models for the Mechanigraph appear Artists who are specialists in making paper look like metal color the completed replica. The problem of the fashioner of the fibre-board replica is even harder than that of the builder of the original model. He has only two dimensions in which to work. His medium for expression is flat, and yet, when it is shown in working order under the eye of the camera, the result he obtains therewith must appear to have all the properties that are part of the actual machine. The greatest care is necessary in the making of this Mechanigraph. The duplicate, when it is shown on the screen, is magnified hundreds of times. A tank that is made to measure ten inches in height in fibre-board, appears ten feet high when thrown upon the screen ; and any error in its making that would be practically invisible to the naked eye, shows on the screen a glaring inaccuracy. After the making of the Mechanigraph— into which often goes more than a hundred pieces, comes the animation. The Mechanigraph is fastened to a board under a specially focussed camera, and each movement that the actual machine makes in operating, is made by hand on the Mechanigraph — and for each movement a picture is made. When there is not an actual piece of machinery to be photographed, as for instance, in the case of the transition of the Wheel — actual historical facts, technical books, and diagrams, are studied, and a Mechanigraph fashioned from material contained in these and animated before the camera. For a big educational picture on the uses and adaptations of electricity, the Mechanigraph is being employed to show how electricity is helping to further the progress of the world. News Notes The Bass Camera Company at present has on display the most interesting collection of motion picture apparatus, in addition to a complete collection of cameras and accessories at their store, 109 North Dearborn Street, Chicago. Among the devices shown is one for dissolving high speed lenses and a new type lightweight micrometer mount which is of interest to all cameramen. A sample of the Universal turret mount is also on display. President Charles Bass issued an invitation through Motion Picture News to all cameramen passing through Chicago at any time to call around and view the particularly attractive display he has on view. Artificial T ight in the Studio* By Max Mayer. WHEN we turn back to the early pages of motion picture history, we come to the time when our pioneer producers began to look upon picture-making as an everyday and allday task, rather than an occasional diversion. It was then that the pranks of old Sol began to be felt more keenly than when it was practical to wait for the clouds to roll by. Confronted by a rapidly growing demand, the producer readily saw two alternatives'; the land of eternal sunshine or artificial light, so he promptly reached out for both. Artificial light was being extensively used, both for still photography and in the Graphic Arts, and fairly suitable units were therefore available for cinematography. At the time the main aim was to get lamps enough to light the sets, and somehow they never seemed able to get quite enough, no matter how many were used. This condition prevailed until the more recently developed tendency, to produce pleasing and natural light effects, superseded the earlier method of flooding the scenes with light from every available point. Thus the lights were used virtually to produce shadows and contrasts, and far better results were attained with less light: in fact, many effects difficult and impracticable to obtain by sunlight are more readily achieved in a darkened studio with suitable electrical equipment. This subject as a whole is wide in scope, and the writer dares herein to attempt nothing more than a superficial discussion thereof. To this end three general classifications will •Trans. S. M. P. E. {Continued on page 3980)