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.
ATTACHMENTS TO PROFESSIONAL CINEMATOGRAPHIC
CAMERAS
By Carl L. Gregory, F.R.P.S. and G. J. Badgley
It is almost as certain as death and taxes that no professional motion picture studio photographer is entirely satisfied with any model of camera that is manufactured to-day.
The Cinematographer does not consider that he is ready to take a picture until he has camouflaged his camera with more attachments than a Ford owner can buy for his "tin lizzy." This is not so strange when we stop to consider that very few of the professional cameras available to-day are equipped with more than one or two of the many devices which are required to obtain the varied effects that are to be seen in practically every motion picture production. With the exception of the American built Bell and Howell camera, nearly all of the better makes of motion picture boxes are, or rather were, manufactured in Europe, for with the exception of a limited number of Pathe's, this production was entirely cut off by the great war. It would not be fair to pass on, however, without referring to the fact that a great number of sporadic attempts have been made in this country to manufacture motion picture cameras, but for one reason or another, none of the attempts has been successful, if we accept as a criterion the verdict of a large percentage of professional cinematographers.
It is hardly fair to class a camera as being a professional studio camera unless it has held its ground day after day and month after month under the grinding routine of steady studio production. Such an arbitrary classification should not be regarded as detracting from the merits of certain types of cameras, which are yet in the process of evolution and have not as yet, for one reason or another, come into general use for studio production. A number of models of high merit have been exhibited, which would have been eagerly tried out in the studios, if a sufficient number of them had been placed on the market, so that they could have been given a fair trial. Doubtless, some of these excellent models, which have relapsed into a comatose condition during the restricted period of the war, will now be revived and receive a proper introduction in the Cinematographic world. It seems reasonable to prophecy that the Cine camera of the future will be sold with a number of standard attachments in much the same way as the sewing machine is sold with an equipment for producing all sorts of fancy frills, tucks, pleats and ruffles. In much the same way must the professional camera be provided with attachments for producing dissolved vignettes, fades, irises, etc. Foremost among these attachments is the one for producing dissolves. Formerly, all dissolving and fading was accomplished by means of the iris diaphragm. Producing a fade by means of the iris under certain conditions is very difficult, as very few iris diaphragms are constructed so that they will close completely.
80