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60 Transactions of S.M.P.E., Nov. 1924
Mr. Richardson: With the brilKant screen illumination of today, flicker is far worse than it was and the first consideration is to eliminate it.
Mr. Dennison: Disregarding flicker, the action is too slow at 60.
(Motion duly passed that recommendation concerning projection speeds be accepted.)
Mr. Porter: The next question on our report was discussed at the last meeting and turned back to the Committee, that of aperture sizes for cameras and printers: ''After thorough discussion of standard sizes for apertures for camera and printer, it was decided to place before the Society the same dimensions of apertures as rcommended by the Standards Committee at the 1924 spring convention, with the additional notation that in order to secure the black border, the camera aperture corners may be either round or square, as desired, but the corners of the projector aperture must be square. The Committee will be prepared to repeat the demonstration given at the spring convention if the Society so desires. '^ The various apertures are printed in the little bulletin sent out to you but we didn't have a chance to check the proof and some of the figures are misplaced, so that I will ask Mr. John Jones to take over the discussion on this.
Mr. John Jones: I have a letter here from Mr. Mitchell in connection with the size of apertures.
MITCHELL CAMERA COMPANY
6025 Santa Monica Boulevard
Los Angeles, Cal.
Sept. 25, 1924. Mr. Loyd A. Jones, Edgewater Beach Hotel, Chicago, 111.
RE: APERTURE SIZES Dear Mr. Jones:
At the Boston meeting the Society approved of a standard aperture for Ph. Projectors of .6795X.906.
The camera aperture should be near the same size as the projector, for the reason that the Director and the Cameraman have no other means to compose their picture than through the camera aperture.
Each camera manufacturer has left a hole through which to make an exposure, some were better than others from a practical standpoint, some were terrible from any standpoint, and caused the Cinematographer and Producer needless trouble and expense. He had to be a good guesser to get any composition at all.
Many camera apertures ran w^ay over into the perforations, and characters on the side lines would be entirely cut off when the scene was projected.
When the Cinematographer and Director compose their scene, it is necessary that they have within the margins of the aperture, that which is going to show on the screen, for a little of this or that cut off often destroys the balance of the whole sQene, and they must not be left to guess how much is to be cut off by the projector.
We must therefore establish a camera aperture that will give the photographer a definite outline to work to.