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comes, or to a special committee, of which he shall be a member, the committee to consider the matter and make its recommendation at the next regular meeting.
The foregoing is, of course, a digression, for which I trust I may be pardoned because of its seeming importance.
In general there are several things not coming within the duty of any committee, which ought to receive attention from this body, unless it be held that camera speed falls within the field of the committee on cameras.
Camera speed is, perhaps, the one thing needing the attention of this body more than anything else. Lack of uniform camera speed is doing literally tremendous damage to the silent drama, both artistically and physically. The present condition is that different directors or producers adopt their own individual views as to camera speeds, ranging all the way from sixty feet of film per minute to as high as seventy-five. This would be bad enough, but to it is added the variation in speed by individual camera men, who often take scenes intended to join each other in the finished product. This variation runs as high as, in extreme cases, five each way from normal, making a total variation as between adjoining scenes, of ten feet per minute — a variation of two to five feet is quite ordinary. Projectionists, as a rule, either do not or are not allowed by circumstances (running to "schedule") to vary the speed of projection to suit variation of speed as between various scenes in a film; also the schedule for the show is made up without knowledge as to the speed at which the film (footage always known, at least approximately) was taken, hence the reproduction of the photoplay upon the screen is a sort of haphazard, happygo-lucky performance, which can only be right by pure accident.
With camera speed standardized, the proper time for the proper artistic reproduction upon the film would merely be a matter of dividing the total footage by number of feet per minute standard. Without entering into detail, this would also work out to immensely lessen the physical injury to films, now mounting into the tens of thousands of dollars per day.
For several reasons I would respectfully recommend to this body a higher standard per minute for camera and projection machine. Our present rate is too slow with present powerful illumination and semi-reflective screens. It is not sufficiently high to eliminate flicker under those conditions, especially if the local shutter conditions be bad. Seventy will, on the other hand, place no unduly heavy burden on the film itself, or upon projection machinery, and will eliminate flicker in all but the very worst cases.
Another thing which might well receive attention is the minimum distance from front row of seats to screen, which should, I think, be based upon picture size, but with an absolute minimum of fifteen feet for a ten-foot picture, with one foot of added distance for every foot of added width up to twenty feet.
Exit signs is still another thing which cries to heaven for standardization, though anything we might do in this respect would be at the mercy of ill informed officials and law makers. But this does not ex
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