Practical cinematography and its applications (1913)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

104 PRACTICAL CINEMATOGRAPHY the apparatus. For the purpose of illustration we will suppose it to be necessary that the speed of the motor shall not exceed 40 revolutions per second. In the earliest experiments he depended upon his ear to detect whether the motor and tuning-fork were in synchrony. He varied the speed of the motor until its hum was dead in tune with that of the tuning-fork. But, as he thought that his ear might not be infallible, he devised an ingenious synchronising apparatus based upon the cinematographic principle. A small disk of cardboard provided with two holes near its edge, at opposite points of the circumference, is mounted upon the spindle of the tiny motor. Behind this disk is placed a small adjustable mirror. A pencil of electric light is projected horizontally in such a manner that it strikes the cardboard disk at right angles, and, when a hole on the disk is brought into line with it, it passes through and falls upon the mirror. The mirror is then set so as to reflect and focus the pencil of light in a small circle upon the free vibrating extremity of the tuning-fork. Naturally a strong shadow is thrown by the latter upon the white wall behind. In the daylight the vibration of this fork is distinctly visible, and although it is slight and rapid it can be followed without any effort. But when the room is darkened, the ray of light is