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THREE-DIMENSIONAL MOTION PICTURES ^3 camera. This Is a total of .032 of the total time." "The camera makes note of what happens in sixteen instances of a five-hnndredths of a second each. The camera is not recording what is happening approxi mately 97 per cent of the time. Yet when a positive print from the negative is presented in one second on the screen the spectator thinks that he sees what is going on continuously, all of the time. The spectator is only three per cent correct. It is not what we see hut what we think we see that makes the picture. Pure persistence of vision does not explain that. Persistence of optical imagination is nearer the fact." "It is interesting to reflect that assuming the same rate of exposure, one five-hundredth part of a second per frame of the film, a whole battery of cameras, say fifty, could be set up side by side to picture the same event in the same time and make as many entirely different records of it. If each camera was timed to expose in succession after its neighbor down the row, there would result fifty negatives, no two of which would be technically and literally alike. A foot of film from each camera would contain its sixteen snapshots made in a different series of five-hundredths part of the same second of time. All fifty negatives would be different, each from the other. Even more amazing, all of the total of eight hundred exposures included in the fifty one-foot negatives made in that one second would be different." "Yet when each of these fifty pictures were projected on the screen they would all tell the minds of the audience the same story. No human eye could tell one picture from the other on the screen. The mind can put together eye-reported fragments amounting to three per cent and derive from that a sensation of seeing 100 per cent. The old saw about "putting two and two together" concerns a feat really trivial by com parison. We evidently believe a great deal more than we see. The eye reports facts but we see fancies."