The motion picture projectionist (Nov 1931-Jan 1933)

14 Motion Picture Projectionist Painting the Silver Sheet By John L. Cass Part I: The Fundamentals of Color December, 1931 Color has been referred to by Mr. John I. Crabtree, retired president of the S.M.P.E. as the only immediately available variant from the prevailing black and white picture, and its further development is anticipated by leaders of the Industry as the next outstanding technical achievement. The following article from the pen of Mr. John L. Cass, assistant chief engineer of RCA Photophone, marks the first of a series to be contributed by the author on this important subject. Mr. Cass' is particularly qualified to discuss the application of color in motion picture science, his engineering experience having embraced many years of research in the color picture field. — The Editor. THE reproduction of motion pictures in natural color has fired the imaginations of technicians and inventors ever since the beginnings of the motion picture itself. Prior to that time, a tremendous amount of experimentation and research had been done toward obtaining still photographs with the original hues. Considerable success rewarded the early experimenters, but only as a result of intense scientific endeavor and great expenditure of time. Early Attempts Unsuccessful With the birth of the motion picture, the attention of experimenters in color was immediately turned to the new field. It was found that very little of the still picture technic was applicable to motion pictures. First, the enlargement necessary in projecting motion pictures made the problem of definition acute. Secondly, making a rapid sequence of photographs of a moving object multiplied the camera difficulties to the nth power. Thirdly, the limitations of the film itself, as to mechanical properties, were entirely different from the usual glass plates in still work. The early attempts to apply color to motion pictures met with considerable public approval when the choice of subject matter was fortunate, but met with no commercial success because of the limitation in subjects. The motion picture without color progressed rapidly, because it offered an ideal medium for narrative and for dramatic action. Movement could be depicted, and became the basis of success. Color was at its worst in scenes having movement, and so it is obvious why the early methods were doomed to commercial failure. However, as in many other arts, the early failures formed the basis of further work, the defects were recognized, and the never-tiring experimenters continued to labor, in most cases with little reward. This work continues in the present day, and will doubtless be carried on until every defect has been overcome, which will be, in truth, the millennium. Two Phases Involved The problem of applying color to motion pictures naturally divides into two interrelated problems, photography and reproduction. In general it may be stated that the two phases may be considered separately, and that any color system must contain RE :d PURPLE y(^ ^V ORANGE VIOLET /. \ ^^^\ YELLOW BLUE \r^^ v / YELLOWGREEN BLUEGREEN ^GREEN Fig. 1. The Color Circle both elements. The quality of the final result on the screen can be no better than the poorer of the tw& elements used in any particular system. In this respect the color field parallels the sound field, and with similar commercial forces tending toward standardization and interchangeability in the final product. In these articles, an attempt will be made to outline the various methods of photographing and producing prints, together with the various requirements and factors which affect the commercial situation in the film industry as organized at present. It should be borne in mind that there are as many opinions as there are methods, and that this delineation must necessarily represent one viewpoint, that of the writer. Alterations Undesirable The general viewpoint taken here is that the color system should not interfere with established standards and technic to any further degree than is absolutely necessary, with due regard for the accuracy of color rendition on the theatre screen. In the past, there has been a number of color processes developed to the point where actual sales campaigns have been launched. Without exception, those which involved serious alterations of existing equipment, particularly in the theatre, have met with no commercial favor. It is reasonably safe to assume that no process will be looked upon with favor which demands troublesome and expensive changes, unless the perfection of results is such as to guarantee that such changes would react favorably upon the life-giving box office receipts. Camera and Projector Considerations From the photographic standpoint,, the camera used, if of a special type, should be such as to operate with a minimum increase in the cost of production. The color camera should also be as flexible in handling as an ordinary black and white camera, so that the director will not be hampered in story treatment. The amount of deviation in the actual camera mechanism is of little moment, as also is the case in the subsequent treatment of the color negatives, the method of printing and the processing of prints. It is extremely important that the final print be such that it will run in a standard projector, at standard speed, and preferably with no change in equipment in the booth or on the stage. It is, of course, obvious that